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MORITZ   VON    SCHWIND  S        DES    KNABEN    WUNDERHORN 


AN  OUTLINE  OF 
GERMAN  ROMANTICISM 


1766—1866 


BY 


ALLEN  WILSON  PORTERFIELD 

INSTRUCTOR   IN   GERMAN,  BARNARD  COLLEGE 
COLUMBIA   UNIVERSITY 


GINN  AND  COMPANY 

BOSTON  •  NEW  YORK  •  CHICAGO  •  LONDON 


COPYRIGHT,  1914,  BY  ALLEN  WILSON  PORTERFIELD 
ALL  RIGHTS  RESERVED 


gfte   fltbtnaum 

GINN  AND  COMPANY-  PRO- 
PRIETORS •  BOSTON  •  U.S.A. 


"PT 


TO 

TEACHERS  WHO  TEACH 

AND  STUDENTS  WHO  STUDY 

GERMAN  ROMANTICISM 


PREFACE 

This  outline  was  prepared  for  the  benefit  of  advanced 
students  and  those  who  teach  advanced  students.  Suggested 
by  unforgetable  experience,  it  is  the  outgrowth  of  an  im- 
pelling desire  to  enrich  the  efforts  of  those  who  give  and 
^to  clarify  the  labors  of  those  who  receive.   An  attempt 
ft  has  been  made  to  compile  a  textbook,  a  sort  of  literary 
*  almanac,  that,  would  cost  but  little  in  money  and  would 
save  much  time. 

•      Neither  history  nor  prophecy  can  point  to  a  century  so 
Q  abounding  in  spiritual  phenomena  as  the  one  between  1 766 
*"  and  1 866,  and  the  middle  half  of  it  is  the  richest.   And  the 
period  from  1790  to  1815,  the  age  of  systematic  Roman- 
Jticism,  admits 'of  so  many  different  methods  of  approach, 
j  that  unless  the  master  is  able  to  eliminate  the  conventional, 
(1-  the  scattered  facts  about  which  there  is  no  dispute,  the  dis- 
\    ciple  will  not  be  able  to  assimilate  the  essential,  the  mean- 
ing of  the  literature  itself,  about  which  there  is  so  much 
discussion  and  on  which,  incidentally,  the  course  is  really 
supposed  to  be  given.    Data  are  as  important  in  literature 
as  in  science  ;  fancy  always  starts  from  facts.   But  when  a 
teacher  of  literature  is  giving  facts,  he  is  giving  what  can 
be  derived  from  many  other  sources,  he  is  being  unoriginal. 
When  he  is  giving  his  own  interpretation  of  the  literature, 
he  is  giving,  even  though  he  may  have  written  a  book  on  the 
same  subject,  otherwise  inaccessible  material,  he  is  being 

[v] 


OUTLINE  OF  GERMAN  ROMANTICISM 

original.  Originality  is  as  indispensable  in  the  teaching 
of  literature  as  in  the  writing  of  it.  This  outline  contains 
the  facts  ;  the  interpretation  of  the  literature  that  grew  out 
of  these  must  come  from  him  who  uses  the  outline.  There 
is  every  reason  to  believe  that  such  interpretation  will 
come  more  easily  and  abundantly  by  using  it.  There  is 
even  reason  to  believe  that  with  the  help  of  this  outline 
the  course  on  German  Romanticism  can  be  begun  where 
it  would  otherwise  almost  stop. 

Though  the  first  of  its  kind,  this  outline  is  not  in- 
tended as  a  contribution  to  literature,  but  to  the  teaching 
of  literature.  It  is  original  only  in  conception  and  selection 
and  arrangement.  The  greater  part  of  the  information 
it  contains  can  be  found  in  the  "  Allgemeine  deutsche 
Biographic,"  biefem  grofeen  $rtebrjof  betttfrfjcn  ©eifte3lcben3, 
in  Goedeke's  "  Grundriss,"  in  various  manuals  —  Meyer, 
Nollen,  Battels  —  and  in  some  histories  of  German  litera- 
ture—  Meyer,  Riemann,  Koch,  Kluge,  Konig,  Kummer, 
and  especially  Kummer.  But  for  the  student,  and  even 
the  teacher,  of  the  Romantic  period,  there  is  always  some- 
thing wrong  with  these  works.  They  are  sold  at  a  prohib- 
itive price,  or  they  are,  for  this  and  that  reason,  not  at  hand, 
or  they  contain  a  good  deal  of  ungermane,  unavailable 
and  ungrouped  material.  The  matter  must  be  systematized, 
the  writers  must  be  coordinated,  if  the  student  is  to  get  a 
clear  conception  of  the  parts  to  the  whole  and  of  the  whole 
as  a  movement.  It  disconcerts  the  beginner,  and  a  depress- 
ing majority  of  "  advanced  "  students  in  America  are  be- 
ginners, to  find  Brentano  treated  on  the  same  page  with 
Novalis,  Arndt  discussed  before  Kleist,  Lenau  lifted  out 
of  the  movement  and  placed  in  a  chapter  on  pessimism, 

[vi] 


PREFACE 

Grillparzer  made  a  Romanticist,  and  so  on.  And  as  to 
inaccessible  books,  Goedeke  is  replete  with  references  to 
works  unattainable  in  this  country  and  difficult  of  access 
in  Germany.  Any  general  history  of  German  literature  of 
about  five  hundred  pages  discusses  about  eight  hundred 
different  writers.  Manifestly  in  such  a  work  facts  and 
interpretation  must  walk  lock-step,  so  that  it  is  impossible 
to  make  the  one  complete  by  condensation  or  the  other 
definitive  by  elaboration.  But  by  giving  undisturbed  atten- 
tion to  a  single  phase  of  a  single  period,  it  is  possible  to 
settle  one  thing :  it  is  possible  to  reduce  the  Philistinism 
of  the  course  to  a  minimum  and  thereby  enable  the  students 
to  spend  their  limited  time  on  that  which  is  eternally  worth 
while,  on  the  literature  pure  and  simple. 

This  outline  aims  always  at  general  thoroughness,  never 
at  specific  completeness.  The  works  listed  fall  into  two 
classes  :  Literature  and  treatises  on  Literature.  Of  the 
latter,  no  one  has  ever  read  them  all ;  it  would  be  a  loss  of 
time  to  do  so  since  they  repeat  more  or  less.  But  some  are 
in  one  library,  some  are  in  another.  The  striking  features 
of  the  writer  have,  in  each  case,  been  kept  rigidly  in  mind 
in  making  the  selection ;  each  work  is  listed  but  once,  where 
it  most  logically  belongs ;  and  the  number  of  pages  is  always 
given.  Haym's  classic  treatise  consists  of  951  pages,  while 
Bern's  excellent  monograph  on  the  Romantic  School  in 
Germany  and  France  has  only  23.  Jean  Paul's  "  Titan  " 
is  a  novel  with  a  short  title  and  consists  of  1287  pages, 
while  Kleist's  "  Das  Bettelweib  von  Locarno  "  is  a  sort  of 
novel  with  a  longer  title  and  consists  of  3  pages.  The 
student  should  be  warned  as  to  the  size  of  his  impending 
task.  The  biographical  resumes  are  omitted  when  not 

[vii] 


OUTLINE  OF  GERMAN  ROMANTICISM 

relevant ;  they  are  short  when  the  author  bears  a  somewhat 
indirect  relation  to  the  movement,  otherwise  they  are  fuller 
but,  for  good  and  sufficient  reasons,  in  synoptic  form  ;  while 
they  are  written  out  in  the  case  of  Tieck  and  Novalis, 
Arnim  and  Brentano,  Kleist  and  Heine.  Abbreviations  are 
not  used.  There  is  no  cToubt  but  that  @rdgl£($  can  stand 
for  (Stubten  gur  bergtetdjcnben  £itcraturgefd)id)te,  but,  to  the 
American  student  at  least,  seven  such  consonants  look 
cryptic  and  repel.  German  orthography  has  not  been 
modernized  (the  Romanticists  delighted  in  archaic  forms) 
unless  the  old  form  was  unpleasantly  conspicuous.  The 
theologians  and  scientists  and  philosophers  are  given  but 
little  space  ;  they  did  not  write  literature,  nor  did  they  write 
directly  about  it.  They  are,  however,  important  "  facts," 
to  which  attention  should  be  called.  The  musicians  and 
painters  are  given  a  little  more  space,  for  they  were 
artists  expressing  their  ideas  in  sounds  and  colors  rather 
than  in  vocables.  A  course  is  attached  for  the  benefit  of 
the  college  student  as  over  against  the  university  student. 
It  contains  those  works  with  which  the  graduate  student 
should  be  familar  at  the  beginning  of  his  course. 

All  references  to  "  Warner's  Library,"  to  the  "  Biblio- 
thek  der  deutschen  Klassiker,"  to  Kurschner  unless  there 
is  no  other  reference,  to  the  "  Allgemeine  deutsche  Bio- 
graphic," to  texts  in  German  and  English,  valuable  as  these 
sometimes  are,  to  (Srtauteritngen  and  their  like,  and  to 
Klopstock  and  the  ©ottinger  Qam  at  the  beginning  and 
to  Grillparzer  at  the  end  have  been  omitted ;  so  has  all 
reference  to  Richard  Wagner,  born  two  years  before 
Robert  Franz.  Popularly  speaking,  these  things  and  these 
men  belong  here  ;  accurately  speaking,  they  do  not. 


PREFACE 

Despite  these  omissions  and  the  unbroken  silence  as  to 
Romanticism  in  England  and  France,  this  outline  contains 
those  basic  facts  the  existence  of  which  is  indisputable  and 
the  importance  of  which  is  undeniable.  But  they  are  only 
collected  and  prefaced.  To  go  one  step  further  would  be 
to  encroach  upon  the  independence  of  the  instructor,  to 
enter  into  the  interesting  but  infinite  realm  of  interpreta- 
tion, about  which  there  will  always  be  differences  of  opinion 
and  for  which  time  and  space  and  an  audience  are  indis- 
pensable. It  is  therefore  plain  that,  though  some  of  this 
outline  has  been  composed,  more  of  it  has  been  compiled. 
To  compile  accurately  is  difficult,  especially  when  the 
sources  differ,  and  there  may  be  some  errors  in  this  com- 
pilation. Notices  of  such  (with  the  proofs),  from  mis- 
spelling to  bad  judgment,  will  be  gratefully  received  and 
promptly  utilized.  It  is  at  present  my  happy  privilege  to 
acknowledge  my  sincere  indebtedness  to  the  proofreaders 
of  the  Athenaeum  Press,  and  to  Mr.  Giinther  Keil,  A.B., 
who  read  the  manuscript  with  extreme  care  and  made  a 
number  of  helpful  suggestions  pertaining  both  to  form 

and  to  content. 

A.  W.  P. 

NEW  YORK 


[ix] 


CONTENTS 


PART  ONE 

PAGE 

INTRODUCTION xv 

SECTION 

I.   THE  WRITERS  OF  BEST  SELLERS 3 

C.  F.  Nicolai,  J.  J.  Engel,  J.  H.  Voss,  A.  H.  J.  Lafontaine, 
Iffland,  Kotzebue,  K.  Pichler,  J.  F.  Rochlitz,  Clauren, 
Tromlitz,  Raupach 

II.    STORM  AND  STRESS 8 

Herder,  Goethe,  Schiller,  J.  G.  Hamann,  J.  K.  Lavater, 
F.  H.  Jacobi,  H.  W.  von  Gerstenberg,  J.  M.  R.  Lenz, 
F.  M.  von  Klinger,  Leisewitz,  H.  L.  Wagner,  Fr.  Miiller, 
J.  J.  W.  Heinse,  C.  Stolberg,  F.  L.  Stolberg,  C.  F.  D. 
Schubart 

III.   THE  CLASSICISTS  OF  WEIMAR 15 

Goethe,  Schiller 


IV.   THE  TRANSITIONALS 22 

Richter,  Holderlin 

V.   THE  WRITERS    OF  THE   BERLIN-JENA   GROUP      30 

JTifick,    Wackenroder,     Npyajis^A.  W.   Schlegel,    Fr. 
Schlegel 

VI.    THE  FATE  DRAMATISTS 47 

Houwald,  Miillner,  Werner 

VII.   THE   WRITERS   OF  THE   HEIDELBERG   GROUP      54 
Arnim,  Brentano,  Chamisso,  Eichendorff,  Uhland 


OUTLINE  OF  GERMAN  ROMANTICISM 

SECTION  PAGE 

VIII.   THE  SIDE  LIGHTS 72 

Alexis,  Arndt,  Droste-Hiilshoff,  Fallersleben,  Fouque, 
Freiligrath,  Geibel,  Grabbe,  Grim,  Halm,  Hauff,  Heine, 
Herwegh,  Hoffmann.  Immermann,  Kerner,  KJeist,  Kb'r- 
ner,  Lenau,  Mnpke,  w.  Miiller,  Nestroy,  Platen,  Raimund, 
Riickert,  Schenkendorf,  E.  Schulze,  Schwab,  Stifter, 
Waiblinger 

IX.   THE  WRITERS  OF  YOUNG  GERMANY 139 

Varnhagen,  Borne,  Menzel,  Wienbarg,  Laube,  Mundt, 
Gutzkow,  BUchner 


PART  TWO 

I.  THE  BACKGROUND      149 

\JlI.  SOME  DEFINITIONS 172 

III.  GENERAL  TREATISES 188 

IV.  GENERAL  TREATISES  ON  SPECIAL  PHASES      .  193 

V.    SECTIONAL  TREATISES   IN   GENERAL   HISTO- 
RIES      201 

VI.  LETTERS  OF  THE  MAIN  ROMANTICISTS    ...  207 

VII.  THE  ROMANTIC   MAGAZINES 211 

VIII.  FOLLOWERS  OF  THE  BERLIN-JENA  GROUP  .    .  217 

IX.  FOLLOWERS  OF  THE  HEIDELBERG  GROUP  .    .  220 

X.   THE  PHILOSOPHERS .    .    224 

Kant,  Fichte,  Schleiermacher,  Hegel,  Schelling,  Fries, 
Herbart,  Schopenhauer,  F.  E.  Beneke,  Feuerbach,  D.  F. 
Strauss 

XI.   THE  MUSICIANS 233 

Kreutzer,  Spohr,  Weber,  Silcher,  Marschner,  Lowe, 
Schubert,  Nicolai,  Schumann,  Lortzing,  Mendelssohn, 
Franz 


[Xii] 


CONTENTS 

SECTION  PAGE 

XII.   THE  ROMANTIC  PAINTERS 244 

K.  D.  Friedrich,  P.  O.  Runge,  Peter  Cornelius,  Franz  Pforr, 
Fr.  Overbeck,  F.  W.  Schadow,  Ph.  Veit,  J.  Schnorr  von 
Carolsfeld,  K.  Rottmann,  Joseph  von  Fiihrich,  A.  L. 
Richter,  M.  v.  Schwind,  Fr.  Preller,  W.  v.  Kaulbach,  J.  W. 
Schirmer,  K.  F.  Lessing,  K.  Spitzweg,  Eduard  Steinle, 
K.  W.  Hiibner,  Andreas  Achenbach,  Alfred  Rethel 

XIII.   AN  INTRODUCTORY  COURSE 255 

INDEX  .  .    261 


INTRODUCTION 

The  equitable  and  unbiased  study  of  a  comprehensive 
literary  movement  necessitates  calm,  disinterested  objec- 
tivity, which,  in  turn,  is  a  matter  of  perspective,  of  what 
Nietzsche  may  have  meant  by  $|8atf)o£  ber  S)tftan§.  We 
must  see  the  movement  afar  off ;  it  must  all  be  over.  And 
we  must  study  not  only  the  movement  itself  but  also  the 
phenomena  that  provoked  it  as  well  as  those  that  it  pro- 
voked. Systematic  German  Romanticism  is  over.  As  a 
movement  it  was  of  far-reaching  consequence,  beginning 
and  ending  gradually.  It  requires,  therefore,  something 
resembling  audacity  to  set  up  a  certain  year  and  say,  with 
this  it  began,  and  then  to  set  up  another  and  say,  with 
this  it  closed.  Safety,  from  the  standpoint  of  ultimate 
thoroughness,  however,  prompts  the  inclusion  of  an  entire 
century,  while  a  number  of  things  suggest  1 766  and  1 866 
as  the  beginning  and  the  end  of  the  movement.  In  actu- 
ality, 1767  would  be  a  trifle  better  than  1766,  but  then 
1867  would  not  do,  hence  a  little  juggling  with  dates. 

In  1 767  A.  W.  Schlegel,  the  oldest  of  the  old  Roman- 
ticists, and  W.  v.  Humboldt,  one  of  the  greatest  scientists 
of  the  movement,  were  born.  We  do  not,  however,  date 
spiritual  movements  from  the  birth  of  the  children  of  * 
men,  but  from  the  birth  of  the  children  of  the  minds  of 
men.  It  was  in  this  same  year  that  Lessing  started  his 
"  Dramaturgic,"  anticipating  Schlegel  in  his  admiration  of 

[xv] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Shakespeare.  And  more  important  than  this,  for  Roman- 
ticism, was  Herder's  "  Fragmente,"  strongly  influenced  by 
Lessing's  "  Literaturbriefe,"  and  suggesting,  sometimes 
in  a  naive  way,  literally  a  host  of  ideas  later  to  be  devel- 
oped, in  a  scientific  way,  by  the  members  of  the  Romantic 
fraternity.  These  works  were  conceived  in  1 766,  the  year, 
incidentally,  of  Wieland's  "Agathon,"  really  the  first  of 
that  long  series  of  Romantic  SBtlbuncjSromane  that  termi- 
nated with  Immermann's  "  Epigonen  "  in  1835.  German 
Romanticism  started  in  1766. 

In  1866  the  war  between  Prussia  and  Austria  was 
closed  by  the  Peace  of  Prague.  Riickert,  who  did  more 
than  anyone  else  to  introduce  exotic  verse  and  strophe 
forms  —  Romantic  forms  —  into  German  literature,  died, 
leaving  only  Morike  and  Geibel,  and  Herwegh  and  Fallers- 
leben,  to  perpetuate  the  tradition.  Reuter,  Lingg  and 
Heyse  were  looming  up,  and  Spielhagen  finished  "  In  Reih 
und  Glied."  But  one  of  the  most  significant  happen- 
ings of  this  year  was  the  appearance  of  Ibsen's  "  Brand." 
Though  the  letter  of  "  Brand  "  was  not  translated  into 
x/  German  until  1872,  its  spirit  was  transferred  to  Germany 
immediately.  Then,  Ibsen  is  German  anyhow  to  a  large 
degree.  And  if  one  wishes  to  get  a  clear  idea  of  the  differ- 
ence between  Romanticism  alive  and  dead,  let  him  read, 
say,  Novalis'  "  Die  Christenheit  oder  Europa,"  and  Ibsen's 
"  Brand  "  with  its  powerful  though  blatant  defamation  of 
the  Church  and  its  reference  to  the  ecclesiastical  Trinity 
of  Setdjtftnn,  SSafynjtnn  and  ©tumpfftnn  at  the  end  of  the 
first  act.  For  such  works  to  become  predominant,  Ro- 
manticism must  be  dead.  And  concerning  Ibsen,  Paul 
Schlenther  wrote  :  Gj£  tear  etne  Suft  511  leben,  fotange  ©oetfje 

[xvi] 


INTRODUCTION 

unb  ©emitter  fd)iifen ;  e§  ttmr  etne  Siift  gu  leben,  folange  bie 
Stomantif  blufjte  —  nun  ttmr  e3  ttneber  etne  Suft  511  leben, 
bcnn  mit  un£  lebte  ein  2)irf)ter,  ber  ben  Snfyalt  unferer  3ett  in 
etgene  ^)dnbe  nafym.  German  Romanticism  closed  in  1866. 

And  between  these  two  dates  we  have  the  Romantic 
movement,  passing,  like  a  great  book-drama,  through  seven 
rather  sharply  defined  stages  as  follows  :  Prelude,  1 740- 
1766;  Genesis,  1766-1790;  Rise,  1790-1798;  Pros- 
perity, 1798-1815;  Decline,  1815-1848 ;  Attenuation, 
1848-1866;  Postlude,  1866-1890. 

The  two  conflicting  parties  in  this  drama  were  the  head 
and  the  heart,  reason  and  fancy,  skepticism  and  mys- 
ticism, the  objective  and  the  subjective,  the  natural  and 
the  strange,  the  plastic  and  the  picturesque,  the  prescribed 
and  the  elective,  the  Stoic  and  the  Epicurean,  the  French 
garden  and  the  English  garden,  the  paved  road  and  the 
pathless  woods,  the  pond  and  the  race,  day  and  night,  the 
sun  and  the  stars,  and  so  on  and  on,  for  it  just  happens 
that  this  world  is  built  on  a  dual  plan.  It  is  the  existence 
of  day,  for  example,  that  makes  night  possible.  The  sig- 
nificant events  in  the  five  acts  of  this  drama  are  out- 
lined in  the  body  of  this  book.  It  remains  but  to  give  the 
plot  of  the  drama  as  such  and  to  say  a  few  words  about  the 
phenomena  that  preceded  Romanticism  and  those  that 
followed  —  about  the  prelude  and  postlude. 

A  great  stage  drama,  even  one  that  develops  a  "  Eurip- 
idean  situation,"  and  the  action  of  which  covers  but  a 
single  day,  is  always  preceded  by  a  long,  entangling  series 
of  anticipatory  events.  Romanticism  also  had  its  pre- 
cursory symptoms,  a  very  few  of  which  were  the  following  : 
In  1740  Bodmer  published  his  "Abhandlung  von  dem 

[  xvii  ] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Wunderbaren  in  der  Poesie  und  dessen  Verbindung  mit 
dem  Wahrscheinlichen."  Among  other  things,  Bodmer 
said  :  $5er  ^oet  beliimmert  fid)  ntdjt  urn  bag  SSafjre  beg  $er- 
ftanbeg;  er  tjat  genug  an  bem  9Saf)tfd)etnttd)en ;  biefeg  i[t 
SSafyrfjeit  unter  fcorauggefetjten  23ebingungen ;  eg  ift  SSatjreg, 
fofern  atg  bte  Singe  iinb  bte  ^fyantafie  toahrljaft  finb ;  eg  ift 
auf  bag  3eugntg  bcrfetben  gebauet.  In  1741  Count  von 
Borgk  translated  Shakespeare's  "  Julius  Caesar  "  into  Ger- 
man, and  followed  it  up  a  few  years  later  with  "  Romeo  und 
Julia,"  thus  anticipating  Graf  Wolf  Baudissin  (1789— 
1878),  Herwegh,  A.  W.  Schlegel,  Simrock,  Tieck  and 
Wieland  in  the  study  of  Shakespeare.  In  1743  Bodmer 
published  his  "  Abhandlung  von  den  vortrefflichen  Um- 
standen  fur  die  Poesie  unter  den  Kaisern  aus  dem  schwabi- 
schen  Hause,"  and  in  1748  and  1758  and  1759  he  and 
Breitinger  published  selections  from  the  "  Nibelungenlied  " 
and  the  Minnesingers.  In  1748  Klopstock  brought  out 
the  first  three  cantos  of  his  "  Messias,"  giving  thereby  new 
life,  new  possibilities  to  the  German  language  and  creating 
interest,  in  an  indirect  way,  in  the  great  epics  of  the  Middle 
Ages.  In  1758  Lessing,  whose  interest  in  the  first  Classical 
period  was  now  awakened,  said  of  the  Old  German  songs 
that  Charlemagne  had  collected :  O(  toenn  fie  nod)  t)or= 
fyonben  nwen  !  In  1749  Ewald  von  Kleist  published  "  Der 
Friihling,"  endowing  nature  with  a  meaning  undreamed  of 
by  Lessing.  When  Kleist  greets  the  unmade  pathways  of 
the  forest  with  ^tjr  biinflen  etnfamen  ©tinge,  bte  tfyr  ba£3)en!en 
ertjcttt,  he  is  anticipating  Tieck  with  a  vengeance.  Then 
came  1762,  with  Rousseau's  "  Contrat  "  and  "  Emile,"  and 
the  beginning  of  Wieland's  translation  of  Shakespeare.  In 
1763  the  Seven  Years'  War  was  closed  and  real  German 

[  xviii  ] 


INTRODUCTION 

patriotism  began.  And  from  then  on,  men  like  Bodmer, 
Breitinger,  Burger,  Gleim,  Holtz,  C.  H.  Myller  and  Voss 
were  at  work  in  the  Mediaeval  field,  either  as  scholars  or 
as  poets. 

In  short,  in  the  science  of  literary  history,,  nationalism, 
Mediaeval  Germany,  nature,  mythology,  the  literatures  of 
other  lands,  aesthetics,  in  all  of  these  interest  was  being N 
awakened  during  the  twenty-five  years  preceding  the  Storm 
and  Stress  period,  an  interest  so  reasonable  that  one  should 
neither  wonder  overmuch  at  the  ultimate  elaborateness  of 
the  Romantic  programme,  nor  admire  unreservedly  and 
without  retrospection  the  excellence  and  apparent  origi- 
nality of  its  chief  landmarks.  "  Des  Knaben  Wunder- 
horn  "  was  a  real  accomplishment ;  but  the  first  collector 
of  Old  German  songs  was  C.  F.  Nicolai,  who  published  in 
1777  his  "  Feyner,  Kleyner  Almanach."  Nothing  seems 
new  except  the  oldest.  The  Romanticists  did  some  lasting 
work  along  the  line  of  aesthetics,  Ibut  as  early  as  1750 
A.  G.  Baumgarten,  professor  at  Frankfurt  on  the  Oder, 
began  to  publish  his  "  Aesthetica,"  appealing  with  all  his 
power,  based  on  long  and  deep  study,  for  (Stnbttbungsfraft, 
Smpfinbiing,  ©ef iifyl,  $rtjrf)e,  ©eftaltenfiiffe,  and  not  simply  for 
SSerftanb  and  SSernunft.  And  then  at  the  end  of  it  all  came 
Herder,  whom  Biese  compares  with  Lessing  as  follows  : 
93et  Sefftng  toanbeln  fair  aiif  ftdjerem  ©runbe,  auf  ber  @rbe, 
unb  erft  nod)  unb  nadj  offnen  fid)  bie  SBeiten  be£  |)immel3 ; 
bet  Berber  toerben  lutr  frei(td)  bon  $tiigeln  in  ben  ^ttnmel 
getragen.  ...  Seffing  fjatte  uber  bie  ®unft  unb  ifjre  ©efe£e  ge= 
badjt,  Berber  taudjt  bag  fd)arf  ©ebacf)te  in  fd)ttmrmertftf)e 
(Smpftnbung.  Lessing  died  in  1781,  Herder  twenty-two 
years  later.  The  one  was  the  finest  type  of  Rationalist  that 

[xix] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Germany  ever  produced  ;  the  other  had  an  equally  superb 
/type  of  Romantic  mind.    When  Herder  began  to  publish 
his  "  Fragmente,"  German  Romanticism  began  to  be. 

The  first  act  of  the  Romantic  movement  lasted  from 
'  1766  to  1790  and  may  be  termed  the  time  of  (Sntftefjen. 
During  this  period  about  thirteen  young  writers,  Lenz, 
Leisewitz  and  others  like  them,  starting  from  Rousseau 
and  encouraged  by  Herder,  Goethe  and  Schiller,  set  out  to 
revolutionize  German  literature  from  the  twofold  point  of 
'x  view  of  form  and  content.  Following  the  lead  of  Kling- 
er's  notorious  drama  based  on  the  American  Revolution, 
Tieck  first  called  them  the  writers  of  Storm  and  Stress, 
an3~  the  name  has  adhered"  to  them  ever  since ;  there  is 
no  reason  why  it  should  not,  for  its  appropriateness  defies 
refutation.  Tired  of  the  gentleness  and  regularity  of  the 
literaturejof  their  native  land,  they  determined  to  put  vim 
and  vigor  into  its  content,  and  variety  and  daring  into  its 
form.  They  succeeded  ;  indeed  they  did  a  deal  of  good  de- 
spite the  fact  that  Karl  Moor  and  Gotz  von  Berlichingen 
begot  by  imitation  a  numerous  and  unworthy  posterity. 
But  it  should  have  been  clear  to  each  of  them  from  the 
beginning  —  they  were  all  young  —  that  such  radical  en- 
deavor could  not  long  survive  its  initial  enthusiasm.  And 
when  "Don  Carlos"  appeared  in  1787,  and  "Faust,  ein 
Fragment"  in  1790,  —  a  work  begun  much  earlier  and  still 
containing  elements  of  juvenile  fervor,  —  it  was  evident  that 
the  curtain  was  soon  to  be  rung  down  on  a  series  of  scenes 
of  which  the  spectators  had  now  grown  tired.  Not  one 
single  storm-and-throng  writer  remained  loyal  to  the  ebul- 
lient cause  throughout  a  long  and  ripe  old  age ;  the  affair 
was  history  after  1790. 


INTRODUCTION 

The  second  act  lasted  from  1790  to  1798  and  may  be 
called  the  period  of  3?cifcn.  This  act  was  more  complicated, 
more  heated  than  the  first.  The  Philistines  felt  that  they 
had  won  a  signal  victory  by  the  retirement  of  their  fiery 
opponents,  and  became  more  perniciously  active.  Herder 
became  more  of  a  problem.  What  Romanticism  would 
have  been  without  him  is  a  question ;  and  yet,  possibly 
owing  to  the  fact  that  his  ideas  were  now  self-evident,  the 
physicist  J.  W.  Ritter  alone  stood  in  sympathetic  proximity 
to  him.  And  Kant  became  a  problem.  Though  Romanti- 
cism is  hardly  thinkable  without  him,  it  was  a  question 
from  the  beginning'of  overthrowing  him.  It  was  a  question, 
throughout  the  period,  of  the  relation  of  reason  to  intuition, 
of  might  to  metaphysics,  of  force  to  feeling ;  and  the  latter 
won.  So  far  as  created  works  are  concerned,  the  key  to  the 
act  lies  in  Goethe's  "  Wilhelm  Meister,"  Fichte's  "  Wissen- 
schaftslehre,"  Schelling's  "  Philosophie  der  Natur,"  and 
the  works  of  Wackenroder.  So  far  as  the  ultimate  outcome 
of  the  period  is  concerned,  one  must  study  the  friendships 
made  and  broken  during  this  time.  Goethe  and  Schiller 
struck  up  a  bond  that  was  to  last  until  the  latter 's  death. 
The  Schlegels,  on  the  contrary,  broke  with  Schiller  for 
good  and  all.  Out  of  this  reseating  of  the  guests  at  the 
poetic  round  table  grew  the  necessity  of  establishing  a  new 
journal,  the  Atkenaunt.  With  its  founding  the  curtain  was 
again  to  be  rung  down,  this  time  not  on  an  audience  that 
was  wearied  by  what  it  had  just  seen,  rather  on  one  that 
had  become  much  interested,  one  that  anxiously  awaited 
the  new  scenes  that  were  to  follow.  After  1 798  Rationalism 
became  history  and  Romanticism  an  established  reality  for 
the  present. 

[xxi] 


OUTLINE  OF  GERMAN  ROMANTICISM 

(The  third  act  lasted  from  1798  to  1815  and  may  be 
designated  the  age  of  93(ut)en.  Romanticism  was  at  its 
height.  The  Germany  of  the  Germans  never  witnessed  a 
more  intense  spiritual  era);  Wackenroder,  Novalis,  Herder, 
Kant,  Schiller,  Nicolai,  Kleist,  Wieland,  Theodor  Korner, 
Iffland  and  Fichte,  after  having  produced  some  works  of 
marvelous  individuality,  died.  Such  a  mortuary  record  will 
change  completely  the  literary  programme  of  any  country. 
Ten  Romanticists  were  born,  Morike,  Freiligrath  and  Geibel 
being  the  most  important.  Schleiermacher  continued  to 
preach  the  God  within  us,  Fichte  the  omnipotence  of  the 
ego,  Schelling  the  spirit  of  nature.  Dramatically  it  was  the 
age  of  Kleist  and  Zacharias  Werner,  philologically  that  of 
the  "  Kinder-  und  Hausmarchen  "  and  "  Des  Knaben  Wun- 
derhorn,"  of  the  translations  of  Shakespeare,  the  lectures  by 
Wilhelm  Schlegel  on  comparative  literature  and  those  of 
Friedrich  on  characteristics.  A  number  of  other  Romanti- 
cists wrote  minor  creative  works,  poems  and  novelettes 
that  are  almost  as  much  alive  to-day  as  they  were  one 
hundred  years  ago.  Politically  the  Germans  were,  like 
Goethe's  Clarchen,  now  gum  Xobe  betrii&t,  now  tjimmek 
fjod)  jaud^enb  over  the  battles  of  Jena  and  Leipzig.  If  the 
Romanticists  ever  came  near  realizing  their  much  longed 
for  Golden  Age,  this  was  the  time.  But  the  pace  was  too 
rapid.  Spirituality  in  artistic  form  is  good ;  political  and 
social  realities  are  necessary.  And,  though  it  sounds  like 
the  irony  that  superciliously  smiles  at  the  laboriously  but 
effectively  accomplished,  when  Napoleon  was  banished,  the 
happiest  days  of  German  Romanticism  were  gone  and 
gone  beyond  recall.  With  the  battle  of  Belle  Alliance 
(Bismarck  was  born  in  the  same  year)  the  curtain  was  to 

[  xxii  ] 


INTRODUCTION 

be  rung  down  for  a  third  time  and  a  new  era  was  to  begin. 
The  defeat  of  Napoleon  placed  tremendous  responsibilities 
on  the  shoulders  of  his  Germanic  foes  ;  but  responsibilities  V 
and  Romanticism  do  not  harmonize.  After  June  18,  1815, 
the  SBtutejett  of  German  Romanticism  became  history. 

The  fourth  act  lasted  from  1815  to  1848  and  must 
be  classed  as  the  generation  of  Hbneljmen.  Romanticism 
slowly  lost  weight.  It  was  the  age  of  Young  Germany, 
that  did  journalistically  about  what  Storm  and  Stress  did 
dramatically.  And  it  was  the  age  of  Heine.  About  twenty 
Romanticists  died  and  only  one,  Herwegh,  was  born.  The 
period  was  not  nearly  so  bright  as  the  preceding  one  ;  it  is 
always  difficult  for  the  dramatist  to  sustain  interest  after  the 
climax  has  been  reached.  It  was  the  day  of  \hefeuilleton 
and  of  political  poetry.  Had  not  the  third  act  been  so  illus- 
trious, this  one  would  have  seen  the  end  of  Romanticism. 
But  there  is  a  marked  tenacity  about  things  spiritual ;  it 
takes  time  to  change  from  an  Ofterdingen  to  a  Tartuffe, 
just  as  it  takes  time  to  remould  a  Romanticist  Tieck  and 
make  him  the  Realist  he  became  after  about  1821.  Roman- 
ticism was  indicted  as  early  as  1 8^30 ;  the  charges  were 
investigated  and  the  indictment  was  sustained  at  the 
Berlin  revolution  of  1848,  when  Frederick  William  IV 
was  obliged  to  relinquish  his  Mediaeval  ideas  of  statehood 
and  grant  an  unromantic  constitution  to  a  realistically  in- 
clined people.  After  March,  1848,  systematic  German 
Romanticism  became  history. 

The  fifth  act  lasted  from  1848  to  1866  and  should  be 
remembered  as  the  epoch  of  SSergefjen.  Romanticism  had 
not  made  good ;  it  had  produced  some  literature  of  great 
poetic  beauty,  but  it  lay  far  removed  from  the  realities  of 

[  xxiii  ] 


OUTLINE  OF  GERMAN  ROMANTICISM 

life.  It  was  now  only  a  matter  of  time  until  the  Romanti- 
cists retired  and  the  Realists  took  their  place  and  their 
supremacy  was  recognized.  During  these  last  eighteen 
years  some  lyrics  were  written  that  betray  their  Romantic 
ancestry,  but  the  whole  period  was  one  of  ever  vanish- 
ing Romanticism.  And  when  the  ancient  and  honorable 
House  of  Hapsburg  was  eliminated  from  German  leader- 
ship and  the  scattered  surviving  erstwhile  Romanticists 
became  Realists,  Romanticism  of  any  sort  became  history. 
And  now  a  significant  question  arises  :  What  has  been 
the  aftermath  of  German  Romanticism  ?  From  the  point 
of  view  of  literature,  pure  and  simple  and  durable,  the 
harvest  has  not  been  great  in  proportion  to  the  labor  ex- 
pended. Literature  has  to  do  with  life,  and  life  has 
changed.  Precious  little  Romantic  literature  has  been 
written  since  1 866 ;  between  1 866  and  1 890  there  was 
indeed  next  to  none.  It  might  be  said  that  the  most  sig- 
nificant event  during  this  period  was  the  appearance  in 
1870  of  Rudolf  Haym's  "  Romantische  Schule."  Since 
iScjQjno  other  movement  in  German  literature  has  been 
studied  more  than  Romanticism,  and  very  many  of  the 
monographs  on  the  movement  give  evidence  of  ances- 
tral gratitude  to  Haym's  monumental  book.  Since  1890 
there  have  been  sporadic  evidences  of  a  Romantic  re- 
nascence also  along  literary  lines ;  it  has  been  a  realistic 
age,  and  one  tendency  invariably  calls  forth  the  oppo- 
site. Hauptmann  has,  on  occasion,  become  symbolic ;  so 
have  Sudermann  and  Heyse  and  Spitteler.  Others  have 
become  Romantic  in  other  ways,  but  it  has  always  been  a 
matter  of  fleeting  mood  rather  than  fixed  disposition.  We, 
and  the  Germans,  live  in  a  totally  different  world.  The 

[  xxiv  ] 


INTRODUCTION 

age  that  produced  a  Novalis  or  a  Kerner  cannot  <  be  dupli- 
cated, the  children  of  such  an  age  no  longer  live  among  the 
sons  of  men.  The  establishment  of  the  German  Empire,  a 
generation  of  armed  peace,  unexpected  progress  in  science, 
gratifying  commercial  prosperity  dependent  upon  at  least 
apparent  amicability  with  other  nations,  hitherto  undreamed 
of  methods  of  travel  between  nations  making  the  old  sort 
of  cosmopolitanism  a  dream  and  the  new  sort  a  reality, 
labor  and  labor  laws  and  labor  unions,  the  emancipation 
and  equalization  of  woman,  the  significant  strides  of 
democracy  accompanied  by  the  inroads  of  socialism,  even 
the  spread  of  sports  so  different  from  the  days  of  Father 
Jahn,  —  all  of  these  things,  and  all  of  those  other  things  that 
branch  off  from  them,  make  the  glorification  of  the  Hohen- 
staufens  (1137-1254)  an  impossible  anachronism  and  the 
search  for  a  blue  flower  an  inconceivability.  Germany 
may,  some  day,  witness  another  Romantic  movement ;  but 
if  so,  it  will  be  very  different  from  the  one  of  1766-1866, 
which  looked  backward.  The  new  one,  if  it  ever  comes, 
will  have  been  provoked  largely  by  the  apparently  fantastic 
strides  of  reliable  science,  that  bears  so  slight  a  resem- 
blance to  the  nightsideisms  of  1800,  and  it  will  seek  its 
Golden  Age  in  the  future.  Speculation  as  to  the  role  of 
Romanticism  in  the  literature  of  the  future,  however,  is 
and  remains  only  speculation. 

But  Romanticism  was  much  more  than  a  literary  move- 
ment. The  universities  of  Berlin  (1809)  and  Bonn  (1818), 
the  science  of  philology,  artistic  verse  and  strophe  forms, 
the  study  of  nature,  the  appropriation  of  foreign  literatures 
by  translations,  the  music  of  Wagner  and  Liszt  and  Brahms, 
the  science  of  history  and  some  of  the  things  above  noted 

[  xxv  ] 


OUTLINE  OF  GERMAN  ROMANTICISM 

as  making  modern  Romanticism  impossible,  the  establish- 
ment of  the  German  Empire,  for  example,  —  if  all  of  these 
things  and  their  subdivisions  cannot  be  traced  directly  to 
the  efforts  of  those  men  who  lived  and  worked  and  wrote 
and  thought  during  the  age  that  we  call  Romantic,  then 
there  is  no  such  thing  as  the  sequence  of  events  and 
consequential  reasoning  is  a  delusion.  Men  are  no  longer 
writing  Romanticism,  they  have  what  the  Romanticists 
sought.  The  records  of  Romanticism  are  to  be  found  not 

-    only  in  the  libraries  but  also  out  of  them. 

But  it  is  only  fair  to  say  that  the  shield  also  has  its 
reverse  side  ;  the  aftermath  has  also  been  harmful.  Fried- 
rich  Schlegel's  "  Lucinde  "  appeared  in  1/99.  It  preached 
moral  shamelessness,  and  Schleiermacher,  the  preacher  of 
the  School,  approved  of  its  ethics. /These  men  overthrew 
the  old  canons  of  morality  without  having  sufficient  strength 
to  set  up  new  ones.  Unconventional  living  and  thinking 
was  one  of  the  evils  of  German  Romanticism.  And  another 
was  the  exaggerated  glorification  of  the  Middle  Ages, 
superinduced  by  such  works  as  Novalis'  "  Die  Christen- 
heitoderEuropa,"  Wackenroder's  "Herzensergiessungen" 
and  Tieck's  "  Sternbald,"  andjegding  to  an  unhealthy  re- 

__action  in  Church  ancLState,  In  his  "  Geistige  und  soziale 
Stromungen  im  XIX.  Jahrhundert "  Theobald  Ziegler 
briefly  defines  this  tendency  as  em  berfyangmguoEec^ug 
nadj  riicfiuartsl,  which  it  unquestionably  was.  And  the  third 
weak  spot  in  German  Romanticism  was,  in  jMain  language, 
its  whimsical  and  arbitrary  fancifulness ;  it  was  not  true. 
Following  the  lead  of  the  first  three  fourths  of  "  Wilhelm 
Meister,"  the  Romanticists  tried  to  introduce  poetry  into 
life  on  all  occasions  and  under  all  conditions,  and  in  so 

[  xxvi  ] 


INTRODUCTION 

doing  they  forgot  and  neglected  those  eternal  verities  and 
realities  that  really  make  life  worth  poetization.  Irregularity 
in  life,  Mediaevalism  in  history,  fantasticalness  in  literature 
—  these  are  the  three  charges  that  any  serious  student  can 
prefer  against  German  Romanticism.  As  to  the  extent  to 
which  these  charges  still  hold,  each  student  must  decide 
for  himself. 

And  so  this  great  drama  is  over ;  it  is  played  out.  It  was 
a  wonderful  production,  however,  in  its  day.  Like  "Gotz 
von  Berlichingen,"  it  included  every  class  and  condition 
of  mankind  and  was  made  up  of  many  scenes.  It  had  its 
fools  and  its  philosophers,  its  priests  and  its  worldlings, 
its  scientists  and  its  poets,  its  historians  and  its  prophets, 
its  idealists  and  its  realists,  its  men  and  its  women.  At 
times  the  action  moved  rapidly  (1798-1815),  at  times 
slowly  (1815-1848).  Songs  were  interspersed  ;  there  was 
incidental  music  ;  the  scenery  was  painted  by  the  members 
of  the  company.  There  were  cheap  spots  in  the  drama 
made  to  catch  the  eye  and  the  ear  of  the  public  ;  and  they 
succeeded,  though  they  would  not  succeed  now.  And  there 
were  purple  patches  that  have  since  faded  ;  all  things  tem- 
poral change,  hence  the  mutability  of  literature.  But  there 
are  at  the  same  time  scenes  in  verse  and  prose,  in  sound 
and  color,  that  have  survived  and  will  survive  because  of 
the  immutability  of  the  mind  and  heart  of  man. 

Of  the  company  that  produced  this  drama,  two,  the 
Dioscuri  of  Weimar,  stand  out.  Goethe,  like  Graf  von 
Shrewsbury  in  "  Maria  Stuart,"  preserved  his  calm,  became 
fanatic  and  factious  never,  and  tried  honestly  to  reconcile 
the  two  camps.  To  a  certain  extent  he  succeeded.  But 
when  he  saw  that  the  younger  party  wished  to  usurp 

[  xxvii  ] 


OUTLINE  OF  GERMAN  ROMANTICISM 

certain  powers,  which  usurpation  his  Olympian  judgment 
could  view  only  with  disfavor,  he  bade  them  a  gracious 
farewell  and  went  his  way.  But  he  remembered  them  and 
their  ideals  considerately  in  some  of  his  epics  and  in  more 
of  his  lyrics,  while  he  employed  them  fully  and  effectively 
in  the  second  part  of  Germany's  greatest  dramatic  poem,  in 
the  second  part  of  his  own  life  work.  Schiller,  Goethe's 
friend  from  the  beginning  of  systematic  Romanticism  on, 
moved  among  them  the  great  idealist,  believing  in  God,  in 
Faith,  in  Virtue,  in  the  dignity  of  Woman  and  the  freedom 
of  Man.  Be  it  said  to  their  everlasting  honor  and  his,  he 
too  tried  to  become  their  friend  and  adherent.  But  like 
his  own  Max,  he  could  not  and  be  true  to  himself,  so  he 
bade  them  farewell  definitely,  on  one  certain  day.  But  he 
anticipated  their  ideals  significantly  in  his  Italian  ghost-seer, 
while  he  remembered  them  kindly  in  his  Scottish  lover, 
his  Gallic  maid  and  his  Grecian  mother.  The  connection 
of  Goethe  and  Schiller  with  the  Romantic  movement  is  an 
uncommonly  instructive  theme  ;  their  defection  from  it  was 
a  mutually  unfortunate  incident. 

To  revive  and  reproduce  this  old  drama  in  its  entirety 
is  impossible ;  its  fable  is  out  of  date.  To  read  it  as  a 
book  drama  is  instructive ;  its  fable  once  had  its  appeal. 
To  study  its  best  scenes  is  inspiring.  Just  as  certain  old 
operas,  cantatas  and  masses  contain  tuneful  arias  buried 
amid  a  heap  of  unmelodious  song,  so  is  the  fable  of  this  old 
drama  replete  with  isolated  scenes  that  thrill,  with  stories 
that  charm,  with  thoughts  that  inspire,  with  canvases  that 
delight,  with  songs  that  exalt. 

Systematic  Romanticism  has  fallen.  It  fell,  however, 
as  did  Poland.  Poland  fell,  but  the  Poles  still  survive. 

[  xxviii  ] 


INTRODUCTION 

Romanticism  as  a  movement  fell,  but  Romanticism  still 
survives.  It  survives,  for  there  is  something  in  the  poetic 
mind  which  refuses  to  be  satisfied  with  the  mere  logic  and 
economics  of  life  ;  something  which  impels  the  poet  to 
go  beyond  accurate  reason  and  photographic  description  ; 
something  that  enables  him  to  derive  enduring  pleasure 
from  the  happy  use  of  symbolism.  And  when  the  poetic" 
becomes  symbolic,  as  he  frequently  does,  he  becomes 
Romantic.  The  fall  of  systematic  Romanticism  calls  to 
mind,  therefore,  part  of  a  poem  by  Karl  Forster  (1784- 
1841),  which  runs  as  follows  : 


bergangen,  fef)rt  ntcfyt  toieber; 
2lber  ging  e§  teudjtenb  nteber, 
Seiid)tet'3  tange  nod)  juriicf  ! 


[  xxix  ] 


Meanwhile,  those  books  that  were  advocates  for  the  Moderns, 
chose  out  one  from  among  them  to  make  a  progress  through  the 
whole  Library,  examine  the  number  and  strength  of  their  party, 
and  concert  their  affairs.  This  messenger  performed  all  things  very 
industriously,  and  brought  back  with  him  a  list  of  their  forces. 

Jonathan  Swift,  "  The  Battle  of  the  Books" 

3)er  Stiver  finb  ju  triel,  um  nodj  fo  m'el  ju  gelten  ; 

35enn  roofylfeil  ift  bie  SReng',  unb  teuer  nur  roa3  felten. 
SOW  itynen  ift'S,  rote  mit  ben  2JJenjd^en  felbft  getfjan ; 

3)en,  ber  mit  trielen  lebt,  ge^n  roenig  na^er  an. 
3Jian  fte^t  fie  an,  allein,  roer  fann  fie  alle  nennen, 

©rlennen  i^ren  SOBert,  rote  fie  coriiber  rennen  ? 
3c^  leb'  in  tleiner  ©tabt,  fie  ift  mtr  faft  ju  gro§ ; 

21U  feine  3larf)6arn  Itebt  man  auf  bem  2)orfe  blo§. 
Sort  f)at  man  feine  3Ba^l,  man  braudjt  bie  ganje  Qafyl ; 

£ter  ftellt  jumal  bie  Dual  ficb,  ein  mit  3«^  unb  SBafjl. 
3d^  aber  ungequalt  fyab'  etnen  j^reunb  gerodf)It, 

2)er  mtr  bie  SBiidjer  roaf)lt,  ba^  tntcb,  bie  Qafyl  nid^t  qualt. 

Friedrich  Riickert,  "Die  Weisheit  des  Brahmanen" 


[  XXX  ] 


PART  ONE 


SECTION  I 
THE  WRITERS  OF  BEST  SELLERS 

There  are  1345  pages  in  the  fourth  and  fifth  volumes 
of  Goedeke's  "  Grundriss."  Of  these,  251  pages  are 
devoted  to  Goethe,  223  to  Schiller,  46  to  the  ©otttngcr 
©tdjterbunb,  25  to  Herder,  22  to  Wieland,  18  to  Klop- 
stock,  5  to  Jean  Paul,  and  3  to  Holderlin.  The  remaining 
752  pages  are  devoted  to  the  writers  of  "best  sellers,"  to 
men  and  women  who  wrote  popular  works  that  were  read 
by  many  people.  In  view  of  these  figures,  it  would  be  a 
grave  misapprehension  to  believe  that  German  Roman- 
ticism, even  from  1 790  to  1815,  stood  alone,  or  was  with- 
out competition,  or  was  decidedly  predominant.  Indeed, 
had  there  been  no  Romanticism  whatsoever,  there  woulc 
be  a  weak  link  but  no  open  break  in  the  chain  of  German 
literature. 

The  century  from  1766  to  1866  was  an  intensely 
"literary"  one.  And  in  any  such  age  there  are  always 
three  classes  of  writers  :  the  evanescent  who  write  for  the 
masses,  the  idealists  who  write  for  idealists,  and  the  immor- 
tals who  write  for  all  time.  As  is  the  case  with  other  trini- 
ties, the  three  sides  of  the  literary  trinity  gradually  merge 
one  into  the  other,  so  that  a  knowledge  of  any  one  side  is 
indispensable  in  the  study  of  the  other  two.  To  study 
Romanticism  without  paying  any  attention  to  the  two  con- 
temporaneous undercurrents  —  rationalistic  sentimentalism 

[3] 


OUTLINE  OF  GERMAN  ROMANTICISM 

and  Classicism  —  would  be  like  studying  the  Thirty  Years' 
War  and  leaving  Catholicism  and  Skepticism  out  of 
consideration. 

The  maturescent  Classicists  soon  grew  up  and  wrote 
some  things  for  all  time.  But  they  did  not  have  a  clear 
and  undisputed  field.  Even  Goethe  came  unto  his  own 
slowly.  In  his  "  Romantische  Schule"  Heine  says,  for 
example,  of  Lafontaine :  3)er  ,,@i)£"  toar  ein  bramattfterter 
9titterroman,  imb  biefe  @attung  liebte  man  bamalS.  .  .  . 
$)te  Montane  bon  Sluguft  Safontatne  ttwrben  jebotf)  ebenjo 
gern  gclcjen,  unb  ba  biefer  unauff)orltc£)  fcljrteb,  fo  ttmr  er 
beriihmter  aU  SSotfgang  ©oetfte.  When  the  Empress  Cath- 
erine, the  illustrious  patroness  of  the  French  Rationalists, 
received  a  copy  of  Nicolai's  "  Nothanker,"  she  at  once 
sent  the  author  a  gold  medal  in  recognition  of  his  merit 
and  accompanied  it  with  a  fervent  petition  to  send  her  any- 
thing and  everything  he  might  from  then  on  write.  Hettner 
speaks  of  Nicolai's  "  Bibliotheken  "  as  mc£)t  6ebeiitcnb,%aber 
toett  fcerbreitet. 

Romanticism  had  to  make  its  way  therefore  against 
Classicism  and  what  might  be  called  Philistinism.  Against 
the  former,  the  more  level-headed  of  the  Romanticists 
cherished  no  great  grudge.  Indeed,  when  we  consider 
the  works  of  Goethe  and  Schiller,  and  even  of  Lessing, 
that  contain  Romantic  devices,  and  when  we  consider  the 
works  of  the  Romanticists  which,  according  to  the  suffrage 
of  time,  have  become  "classics,"  it  seems  that  there  was 
something  resembling  a  compromise.  But  Romanticism 
never  compromised  with  Philistinism,  of  which  there  were, 
many  producers  and  very  many  consumers.  Of  the  former, 
eleven  of  the  most  important  out  of  the  almost  interminable 

[4] 


THE  WRITERS  OF  BEST  SELLERS 

list  follow,  in  chronological  order.  Christian  August  Vul- 
pius's  (1762-1827)  "  Rinaldo  Rinaldini,  der  Rauberhaupt- 
mann,  eine  romantische  Geschichte  unseres  Jahrhunderts  " 
(1798)  might  also  be  included. 

The  plot  of  just  one  of  these  works,  Friedrich  Rochlitz's 
"  Die  Landmadchen, "  gives  a  fair  idea  of  the  sort  of  literature 
people  really  read  in  the  palmy  days  of  Jena  Romanticism 
and  Weimar  Classicism  : 

The  Reverend  Lehnhold  is  dead  and  his  estimable  widow 
conducts  a  charitable,  cultural  boarding  house  at  her  country 
place  in  Grunfeld.  There  are,  however,  only  two  patrons 
in  residence,  Jettchen,  aged  fourteen,  the  daughter  of  the 
deceased  tenant  of  the  place,  and  Hanchen,  aged  thirteen, 
the  daughter  of  a  deceased  shopkeeper  of  a  neighboring 
village.  Better  girls  never  lived.  They  loved  each  other, 
their  adopted  mother,  and  all  that  is  good.  Jettchen  was 
supported  by  Felix,  court  chamberlain,  aged  fifty,  a  bach- 
elor, out  of  gratitude  for  services  rendered  by  her  faithful 
father ;  Hanchen,  by  the  income  from  her  small  inheritance. 
Felix  takes  a  liking  to  his  adopted  child,  writes  to  her, 
sends  her  books,  which  are  given  to  her  after  her  adopted 
mother  has  inspected  them,  and  finally  even  sends  her 
material  for  a  new  dress  that  will  make  up  prettily. 

Then  Madame  Pfeil,  a  widow,  aged  forty,  appears  on 
the  scene.  She  takes  Jettchen  in  charge,  —  it  is  needless 
to  say  that  she  is  the  friend  of  Felix,  —  teaches  her  the 
difference  between  dressing  and  dressing  up  and  a  number 
of  other  useful  things.  Then  Jettchen  is  taken  to  Schloss 
Grunfeld ;  but  she  does  not  forget  those  at  the  boarding 
house  for  cultural  purposes.  Time  goes  and  Jettchen  grows 
and  a  wedding  is  inevitable.  People  laugh  a  little  at  the 

[5] 


OUTLINE  OF  GERMAN  ROMANTICISM 

discrepancy  in  ages  between  Jettchen  and  Felix,  but  that 
is  a  small  matter.  That  Felix  dropped  dead  one  day  just 
before  the  wedding  was,  however,  a  large  matter !  There 
was  some  little  gossip  that  came  close  to  scandal ;  but  there 
was  no  ground  for  it  and  it  died  of  its  own  accord.  Jettchen 
is  alone,  though  she  now  has  other  chances,  having  become 
popular  through  the  attentions  of  Felix,  court  chamberlain, 
aged  fifty.  But  Jettchen  follows  her  better  impulses,  goes 
back  to  the  boarding  house,  only  to  be  received  with  much 
welcoming  by  the  villagers  and  especially  by  Hanchen,  now 
married  to  August,  who  fills  the  double  post  of  village 
teacher  and  village  preacher,  and  only  to  get  married  her- 
self to  another  preacher.  And  they  lived  together  as  hap- 
pily as  two  people  can  when  they  are  bound  by  the  ties  of 
love,  honor  and  fidelity. 

This  work  appeared  in  1 799,  the  year  of  the  appearance 
of  "  Lucinde,"  "  Wallenstein  "  and  "  Reden  iiber  die  Re- 
ligion."   There  was  this  fundamental  difference  between 
that  work  and  these  :  it  was  read  by  more  people.  Rochlitz 
wrote  much  of  this  kind.    Lafontaine  filled  one  hundred 
v^  and  fifty  volumes  of  the  same  sort.    Romanticism  had  to 
\  make  its  way  against  Philistinism  and  Classicism. 

BIBLIOGRAPHY 

C.  F.  Nicolai  (1733-1811) 

^reuben  imb  Seiben  beg  jungen  28ertf)crg,  prose  parody,  68  pp. 
Sag  Se&en  unb  bie  3Mnungen  beg  £emt  3JZagifter  Befcalbug  Wotf)* 
anfer,  satirical  novel,  778  pp. 

J.J.Engel  (1741-1802) 

Jperr  Sorenj  ©tarl,  novel,  399  (small)  pp.   Appeared  first  serially  in 
Schiller's  "  Die  Horen."  (JDer  le^te  grofje  ©rfolg  ber  alten 
runggliteratur.) 

[6] 


THE  WRITERS  OF  BEST  SELLERS 

J.  H.  Voss  (1751-1826) 

Suije,  idyl  in  verse,  217  (small)  pp. 

©ebidjte,  362  pp. 
A.  H.  J.  Lafontaine  (1758-1831) 

2)ie  SBerirrungen  beg  menjdjlidjen  £>erjen3,  novel,  391  pp. 

9totur  unb  Siebe,  novel,  304  pp. 
A.  W.  Iffland  (1759-1814) 

SDie  3>agrc>  drama,  186  (small)  pp. 

2>er  ©pieler,  drama,  160  (small)  pp. 
A.  F.  F.  von  Kotzebue  (1761-1819) 

2)ie  beutfdjen  5Uetnftabter,  comedy,  95  pp. 

9Jfenfcf)enf)af}  unb  3feue,  drama,  105  pp. 

2>ie  2>nbianer  in  ©nglanb,  comedy,  75  pp. 

2)er  Sieljborf,  comedy,  88  pp. 

Ser  l)9perboraifd)e  @fel,  35  pp.    (A  clever  attack  on  Romanticism) 
K.  Pichler  (1769-1843) 

©tille  SieBe,  short  story,  35  pp. 

35er  ^roatje  ^nty,  short  story,  56  pp. 

Ser  Sabeaufent^alt,  short  story,  58  pp. 
J.  F.  Rochlitz  (1769-1842) 

®ie  Sanbmabd^en,  short  story,  38  pp. 
K.  G.  S.  Heun  (H.  Clauren)  (1771-1854) 

@rfte  unb  le^te  Siebe,  short  story,  35  pp. 

3Jhtnter  ift  bie  i^cwptjadje,  short  story,  44  pp. 

llnterirbtfdje  Siebe,  short  story,  86  pp. 

35er  SBurftbatt,  short  story,  10  pp. 

aJHmili,  short  story,  90  pp.   (S)er  ©c^Iager  beg  Sa^eS  1816) 
K.  A.  F.  von  Witzleben  (A.  von  Tromlitz)  (1773-1839) 

3fiomantiyd)e  ©emalbe  au^  bem  Seben  2Ubrecf)t  beg  5lriegerg,  Wlav^ 
grafen  oon  93ranbenburg,  novel,  322  pp. 

^ranj  con  ©idingen  unb  jeine  3eitgenofien,  novel,  366  pp. 
E.  B.  S.  Raupach  (1784-1852) 

S)er  9JibeIungen=$ort,  drama,  184  pp. 

2)ie  ^OC^tet  bet  8uft,  mythical  tragedy,  176  pp.    (After  Calderon) 

^riebrid)  II.,  historical  drama  in  4  parts,  part  one,  176  pp. 
(From  the  Hohenstaufen-Cycle) 


[7] 


SECTION   II 

STORM  AND  STRESS 

So  eminent  an  authority  as  Wilhelm  Scherer  once  re- 
ferred to  the  entire  period  in  German  literature  from  1770 
to  1815  as  an  unbroken,  unified  whole  ;  and  other  literary 
historians  of  smaller  calibre  were  formerly  accustomed  to 
look  upon  Romanticism  as  nothing  more  or  less  than  a 
reenforced  echo  of  Storm  and  Stress.  These  historians 
discussed  the  literary  revolution,  folk-songs  and  chap-books, 
old  German  art,  fantastic  gruesomeness,  pantheism,  aes- 
thetics without  rules,  individuality,  personality,  geniality, 
politics  and  civics  based  on  self-preservation,  as  parts  of 
the  scheme  of  the  writers  of  Storm  and  Stress,  and  then 
fitted  these  same  rubrics  to  the  Romanticists.  They  dis- 
cussed Herder  and  found  it  impossible  to  locate  him  in 
any  one  camp  ;  he  seemed  a  combination  of  psychology, 
philology,  philosophy,  theology,  anthropology.  They  ana- 
lyzed the  Storm  and  Stress  elements  in  the  writings  of 
Fr.  H.  Jacobi  and  concluded  by  saying  that  the  man  is  a 
Romanticist.  They  found  Romanticism  in  Justus  Moser 
and  Storm  and  Stress  in  Schleiermacher.  They  detected 
Storm  and  Stress  in  Brentano  and  Romanticism  in  the 
Stolbergs.  The  study  of  literary  distinctions  had  not  yet 
been  sufficiently  developed. 

But  all  this  has  changed.  Whether  we  like  literary  labels 
or  not,  they  are  here  to  stay,  for  they  are  convenient. 

"[8] 


STORM  AND  STRESS 

/ 

As  new  light  "is  thrown  on  German  literature,  the  lines  of 
demarcation  are  being  more  tensely  drawn.  Various  dates 
are  being  set  up  as  marking  the  close  of  one  tendency  and 
the  beginning  of  another.  Various  dates  have  been  sug- 
gested as  most  appropriately  marking  off  the  beginning 
and  close  of  this  particular  movement.  Some  historians 
like  even  numbers  and  set  up  1770  and  1785  ;  but  these 
dates  have  very  little  to  commend  them.  Eduard  Engel 
rather  happily  marks  off  1 77 1  ("  Gotz  ")  and  1 783  ("  Kabale 
und  Liebe").  For  the  purpose  of  this  outline,  i^7>  the 
year  of  Herder's  "  Fragmente,"  and  1787,  the  year  of 
Schiller's  "  Don  Carlos,"  most  accurately  demarcate  the 
beginning  and  end  of  the  movement. 

That  Storm  and  Stress  gradually  merged  into  Romanti-  / 
cism  is  obvious.  And  O.  F.  Walzel  in  his  "  Deutsche ' 
Romantik  "  (pages  3-10)  most  concisely  points  out  that 
which  differences  the  one  movement  from  the  other.  The 
writers  of  both  were  enthusiastic,  impetuous,  ingenious  and 
so  on,  but  the  Storm  and  Stress  writer  went  just  so  far  in 
the  analysis  of  his  feelings,  and  then  stopped  stock-still, 
afraid  to  go  any  farther,  weak  metaphysician  that  he  was. 
He  was  a  man  of  reason  after  all.  The  Romanticist  ana- 
lyzed his  feelings  down  to  the  minutest  detail  and  still  had 
something  more  to  say,  something  more  to  reveal,  some 
mystery  to  clear  up,  good  metaphysician  that  he  was.  He 
was  a  man  of  intuition  all  in  all. 

The  movement  was  a  dramatic  one  almost  entirely ; 
dramas  were  written  in  abundance,  lyrics  and  epics  almost 
wholly  neglected.  The  writers  were  young,  some  of  them 
under  twenty,  others  but  little  over  twenty,  and  Herder, 
the  oldest,  was  under  thirty  when  the  movement  had  well 

[9] 


OUTLINE  OF  GERMAN  ROMANTICISM 

started.  The  influence  of  Rousseau's  "Emile"  and  "He- 
/lo'fse"  can  hardly  be  overestimated,  from  the  standpoint  of 
content,  while  the  conception  of  Drigtnalgeme  is  to  be  traced 
to  Edward  Young's  (1683-1765)  works,  "Original  Com- 
position/' and  so  on,  and  Shakespeare  was  set  up  as  the 
f  model  for  many  scenes  and  changes  of  scenes.    Regicide, 
\  fratricide,  infanticide,  insanity,  opposition  to  pedantic  learn- 
Ving  and  training  —  these  are  a  few  of  the  favorite  themes. 
The  language  became  contracted,  the  hero  had  time  to  say 
only  S8'in'$  for  £jd)  &tn  e3  ;  strong  figures  were  used,  Gotz 
says  he  feels  as  though  he  had  the  sun  in  his  hand  and 
could  play  ball  with  it ;  certain  words  are  emphasized  by  rep- 
etition :  @emc,  $cr(,  toft,  9ftarf,  fdjmeifscn,  freffen,  ftiirjen, 
and  so  on.   It  was  a  youthful  movement  that  could  not  last 
long ;  Goethe  and  Klinger  were  the  first  to  outgrow  it. 
Aside  from  the  men  that  follow,  there  were  also  such  little 
people  as  L.  P.  Hahn,  Sprickmann,  Babo,  and  Gemmingen ; 
and  there  were  some  women,  such  as  Charlotte  von  Kalb 
and    Karoline   von    Lengefeld-Beulwitz-Wolzogen.     The 
movement  took  its  name  fromrKrVdmma]of  like 


name  (1776),  though  this  drama  was  first,  and  more  hap- 
pily, called  "  Der  Wirrwarr,"  Klinger  changing  it  to 
"  Sturm  und  Drang, "~at  the  suggestion  of  Christoph 
Kaufmann,  who  took  the  idea  from  Lavater.  The  ex- 
pression Sturm  itnb  2)rang  did  not,  however,  become  cur- 
rent until  1828,  when  Tieckjnajde  it  so  by  discussion 
connected  witR  his  edition  of  Lenz's  work^.^ 

The  plot  of  Klinger's  "Sturm  und  Drang"  gives  a  fair 
idea  of  trie  sort  of  literature  that  was  being  written  at  that 
time.  The  scene  is  laid  in  America,  1 776,  the  year  of  our 
immortal  Fourth  of  July.  There  are  twelve  characters,  three 

[10] 


STORM  AND  STRESS 

of  whom  are  significantly  named  Wild,  La  Feu  and  Bushy. 
The  latter  name  and  Berkley  are  taken  from  Shakespeare's 
"  Richard  II."  There  are  five  acts  and  thirty-seven  scenes. 
There  is  only  the  slightest  thread  of  coherency  in  the  story, 
which  tells  of  the  sapid  events  in  the  lives  of  two  young 
men  on  a  rampage  in  this  country.  The  language  is  bom- 
bastic beyond  description.  Wild  says,  for  example,  that  he 
would  like  to  stretch  himself  across  a  kettle-drum  in  order 
to  become  expanded,  or  he  would  like  to  live  in  the  barrel 
of  a  shot-gun  until  some  one  fired  him  off  in  the  air ! 
Lessing  said  that  it  was  impossible  for  him  to  read  the 
piece  through,  a  task  that  has  been  performed  by  very 
few  people. 

The  Bushys  and  the  Berkleys  hate  each  other  immensely. 
Wild,  really  the  hero,  turns  out  to  be  Lord  Bushy's  son 
and  falls  in  love,  of  course,  with  Karoline  Berkley.  Cap- 
tain Boyer  turns  out  to  be  the  son  of  Lord  Berkley.  Wild 
was  making  considerable  headway  with  the  Berkleys  until 
Boyer  shows  up,  having  in  the  meantime  landed  the  other 
Bushys  on  a  desert  island  in  the  wildest  part  of  the  Father 
of  Waters.  Wild  and  Boyer  will  fight  a  deadly  duel,  but 
war  breaks  out,  family  dissensions  are  forgotten  and  all 
fight  for  the  common  cause.  After  the  war  the  intended 
duel  between  Wild  and  Boyer  is  not  necessary,  for  had 
not  Mohr,  Boyer's  boy,  rescued  the  Bushys  and  hidden 
them  in  the  hold  of  the  ship  ?  There  follow  a  family  recon- 
ciliation, a  double  wedding  and  fireworks,  all  of  which  is 
tame  in  comparison  with  the  individual  episodes. 

This  is  the  sort  of  works  that  were  being  written  in 
Germany  in  1776.  In  the  same  year  Lenz's"  Die  Soldaten," 
Klinger's"  Die  Zwillinge,"  Leisewitz's"  Julius  von  Tarent," 


OUTLINE  OF  GERMAN  ROMANTICISM 

Wagner's  "Die  Kindermorderin,"  and  Maler  M tiller's 
"  Fausts  Leben  "  appeared.  It  seems  like  an  omen  that 
E.  T.  A.  Hoffmann  was  born  and  that  Adam  Smith 
finished  his  "  Wealth  of  Nations  "  in  the  same  year. 

BIBLIOGRAPHY 

©tiirmer  unb  Granger.  Edited  by  A.  Sauer  (Deutsche  National- 
Litteratur,  Volumes  79,80,81),  Stuttgart,  no  year.  Contains  works  by 
Klinger,  Leisewitz,  Maler  Miiller,  Schubart,  Wagner  and  Lenz. 

(Sturm  unb  3)rang.  2)idE)tungen  au3  ber  ©eniejeit.  Edited  by  Karl 
Freye,  Berlin  (Bong),  no  year.  There  are  two  volumes,  containing  works 
by  Gerstenberg,  Leisewitz,  Lenz,  Klinger,  Wagner  and  Maler  Mtiller. 
There  is  a  general  introduction  in  Volume  i,  pages  i  to  xc,  and  sep- 
arate introductions  to  the  different  writers.  Freye's  edition  is  to  be 
preferred. 

READING    LIST 

J.  G.  Herder  (1744-1803) 

1767.  $ragmente  u&er  ^ie  neuere  beutfcfje  ^iteratur,  98  pp.  (I) 

1769.  $ritifd)e  SBalber  ober  Setracfytungen,  bie  SBiffenfctyaft  unb 

$unft  be3  @a)onen  fcetreffenb,  171  pp.  (I) 

1770.  Slbljanblung  iiber  ben  Urfprung  ber  ©pracfje,  222  (small)  pp. 
1774.  3lud)  eine  ^fjUofopfyie  ber  ®efo)ic^te,  155  (small)  pp. 

1778.  SSolMieber,  506  pp. 
J.  W.  von  Goethe  (1749-1832) 

1773.  ®b§  von  Serlic^ingen,  tragedy  in  5  acts,  132  pp. 

1774.  Sie  Setben  beg  jungen  SCert^er^,  novel,  108  pp. 
1790.  $auft:  ©in  fragment,  tragedy,  60  pp. 

Poems:  JBtllfommen  unb  2lbfrf)ieb;  ^kometljeuS ;  3Wa[)ometg 
©efang ;  SBanbrerg  3?acf)tlteb. 

J.  C.  F.  von  Schiller  (1759-1805) 

1781.   SDie  StduBer,  tragedy  in  5  acts,  120  pp. 

1783.  S)ie  SSerfcfjraorung  beg  ^tegfo  ju  ©enua,  tragedy  in  5  acts, 

108  pp. 

1784.  $abale  unb  Siebe,  tragedy  in  5  acts,  96  pp. 
Poems:  ^ouffeau ;  2)er  ©roberer. 

[12] 


STORM  AND  STRESS 

J.  G.  Hamann  (1730-1788) 

1759.   <Sofrattfrf)e  Senfroiirbigfetten,  pseudophilosophic  discussions, 

348  pp. 

1788.   ©ibnUinifcfje  flatter,  a  collection  of  454  sententious  para- 
graphs published  under  this  title  by  Friedrich  Cramer  in 
1819.  The  same  volume  contains  a  life  of  Hamann  and  his 
relations  to  Herder  and  Goethe. 
J.  K.  Lavater  (1741-1801) 

1778.  pOgfiognonufd)e  ^ragmente,  696  pp. 
1787.    Aphorisms  on  Man,  112  pp. 
F.  H. Jacobi  (1743-1819) 

1 77  5.  ©buarb  3(lfnrill3  33rief  jatnmlung,  epistolary,  philosophic  novel, 

404  pp. 

1777.  3Bolbemar,  novel,  482  pp. 
H.  W.  von  Gerstenberg  (1737-1823) 

1768.   Ugoltno,  tragedy  in  5  acts,  63  pp. 

®er  forperlidje  ©cbmerj  ift  unftreitig  unter  alien  Seiben= 
fcfjaften  am  fdjroerften  511  befjanbeln,  unb  @ie  Ijaben  bie 
fdjrerflidje  2lrt  be3feI6en  mit  fo  grower  2Bal)rf)eit  unb  mtt  fo 
mannigfalttger  SOBafirheit  befianbelt,  bafj  meine  Stiifirung 
me^r  al3  etnmal  burd^  ba^  ©rftaunen  iiber  bie  5^unft  unter= 
Broken  roorben.  —  Lessing. 
-  J.  M.  R.  Lenz  (1751-1792) 

1774.  3)er  ioofmeifter,  comedy  (Lenz  had  original  ideas  as  to  the 

difference  between  comedy  and  tragedy)  in  5  acts,  81  pp. 

1775.  ^5anbdmonium  ©ermanifum,  satirical  sketch  in  2  acts,  20  pp. 

(Among  the  "characters"  of  this  play  are  Lenz,  Goethe, 
Hagedorn,  Lafontaine,  Moliere,  Rabener,  Klotz,  Rabelais, 
Weisse,  Wieland,  Klopstock,  Herder,  Lessing  and  Shake- 
speare.) 

1776.  35ie  ©olbaten,  comedy  in  5  acts,  48  pp. 
F.  M.  von  Klinger  (1752-1831) 

1776.   (Sturm  unb  Srang,  drama  in  5  acts,  59  pp.    (The  play  which, 

at  the  suggestion  of  Tieck,  gave  the  name  to  the  movement. 

.  It  was  originally  called  "  Der  Wirrwarr."    Lessing  said  he 

could  not  read  it  through.) 
1776.   2)ie  SroiUinge,  tragedy  in  5  acts,  50  pp. 
J.  A.  Leisewitz  (1752-1806) 

1776.  3uKu3  oon  Xarent,  tragedy  in  5  acts,  55  pp. 

[13] 


OUTLINE  OF  GERMAN  ROMANTICISM 

H.  L.  Wagner  (i747~i779) 

1776.   2)te  $inbermbrberin,  tragedy  in  6  acts,  72  pp. 
F.  Miiller  (Maler  Muller)  (1749-1825) 

1778.  ^auftg  Se&en  bramatifiert,  74  pp.    (Includes  an  introductory 

dedication  to  Otto  von  Gemmingen.) 
1781.   ©olo  unb  ©enocefa,  drama  in  5  acts,  159  pp. 

J.  J.  W.  Heinse  (1746-1803) 

1787.  2lrbtngf)eUo,  novel,  500  pp. 

C.  Stolberg  (1748-1821) 

1779.  ©ebicfyte  ber  33riiber,  318  pp. 
F.  L.  Stolberg  (1750-1819) 

1779.   ©ebicfjte  ber  23ritber,  318  pp.   (Same  as  above.) 
C.  F.  D.  Schubart  (1739-1791) 

1785.   ©ebtcfjte.    A  good  selection  is  found  in  Kurschner's  D.  N.  L., 

Volume  81,  pages  310  to  434.  One  of  his  best  known  poems 

is  "  Die  Fiirstengruft." 
1787-1791.  aiu^iige  unb  ©tellen  cw§  ber   vSaterlanbgsS^ronil'', 

352  pp.    (Articles    on   a   great   variety    of   topics;  short, 

interesting,  valuable.) 


SECTION  III 
THE  CLASSICISTS  OF  WEIMAR 

Jena  and  Weimar  lie  very  close  together.  Romanticism 
reached  its  zenith  in  the  former,  Classicism  in  the  latter. 
If  literature  is  an  artistic  visualization  and  faithful  reflection 
of  life,  how  could  there  be  any  marked  difference  between 
the  visualizations  and  reflections  of  contemporaneous  poets 
in  two  towns  only  fifteen  miles  apart  ?  And  yet  there  Was. 
It  is  the  old  question  of  taste,  about  which  there  is  no  dis- 
puting. And  regional  proximity  seems  to  have  but  little 
bearing  on  similarity  of  spiritual  predilection  :  two  brothers 
grow  up  on  the  same  homestead  and  in  the  same  family, 
the  one  becomes  a  broker,  the  other  a  bishop.  Try  as  we 
may,  it  is  difficult  to  find  many  points  in  common  between 
the  creations  of  Fichte,  the  Schlegels,  Tieck  and  Novalis 
of  Jena,  and  those  of  Herder,  Wieland,  Goethe  and  Schiller 
of  Weimar.  These  immortals  knew  each  other,  wrote  to 
each  other,  and  in  some  instances  admired  each  other; 
but  rare  are  the  cases  where  the  two  camps  exchanged 
tactics. 

Wieland  and  Herder  were,  to  ?  ^^jp  degree,  th°  fore 
runners~~of  Romanticism!  Wieland  took  the  content  of 
"  OHeron,"  in  part,  from  an  Old  French  novel,  "  Huon 
de  Bordeaux,"  the  verse  form,  ottava  rima,  from  Ariosto, 
the  general  character  of  the  work  from  Shakespeare's 
"  Midsummer  Night's  Dream,"  all  of  which  sounds 

[15] 


OUTLINE  OF  GERMAN  ROMANTICISM 

romantic.  Yet  the  work  is  Wieland's  very  own ;  a  discussion 
of  it  belongs  only  to  a  genetic  treatment  of  Romanticism. 
The  relation  of  Herder  to  Romanticism  is  a  long  story, 
the  narration  of  which  is  interesting  and  the  conclusion 
of  which  is  instructive  —  on  general  principles.  The  only 
trouble  is,  Herder's  story  throws  only  a  sort  of  head-light 
on  the  Romantic  promontory  in  the  distance ;  Romanticism 
proper  must  be  studied  at  closer  range.  Schiller,  after  he 
grew  up,  became  the  Classic  opponent  of  the  movement. 
We  know  how,  on  May  31,  1797,  he  "discharged" 
Friedrich  Schlegel  for  good  and  all,  and  Friedrich  was 
Wilhelm's  only  brother.  And  how  could  we  expect  Fried- 
rich  Schlegel  and  Friedrich  Schiller  to  become  and  remain 
loyal  comrades  in  letters  when  Schlegel  was  preaching 
arbitrariness  and  Schiller  law.  And  then  there  is  Goethe. 
A  broader-minded  man  never  lived  in  Germany.  He,stood, 
not  by  choice  but  by  reason  of  his  unapproachable  genius, 
on  lofty  and  yet  secure  heights  and  looked  down  with 
Olympian  calm  and  classical  serenity  upon  the  battles 
being  waged  below.  The  sight  inspired  him,  now  one 
way,  now  another ;  but  it  never  blinded  him. 

Goethe's  attitude  toward  Romanticism  was  different  at 
different  times.  He  began  as  its  cautious  and  tentative 
friend  ;  he  closed  as  its  impatient  and  skeptical  opponent. 
About  the  time  he  began  his  friendship  with  Schiller, 
1794-1795,  he  and  the  Schlegels  agreed  on  the  superi- 
ority of  all  things  Grecian,  while  they  developed  the 
Romantic  theory  from  his  "  Wilhelm  Meister."  Novalis 
looked  upon  him  as  the  vicegerent  of  the  poetic  spirit 
on  earth,  and  Caroline,  the  intellectual  Egeria  of  the  Jena 
circle,  proclaimed  his  inestimable  services  to  an  eager 

[16] 


THE  CLASSICISTS  OF  WEIMAR 

public.  He  had  Friedrich  Schlegel's  "Alarcos"  and 
Wilhelm's  "  Ion  "  performed  at  Weimar,  partly  because 
they  attacked  Kotzebue  and  the  other  Philistines  on  whom 
his  pen,  too,  dripped  vitriol.  He  admired  Tieck's  "  Geno- 
veva"  and  saw  the  reasonableness  of  Schilling's  panthe- 
istic conception  of  nature.  He  praised  "  Des  Knaben 
Wunderhorn"  and  had  two  of  Werner's  dramas — Werner 
in  turn  familiarized  him  with  the  sonnet — performed  at 
Weimar,  while  his  relation  to  Bettina  was,  so  far  as  she 
was  concerned,  intimate  indeed. 

But  Goethe's  passing  relations  to  the  individual  mem- 
bers of  the  movement  is  one  thing ;  his  adoption  of  their 
beliefs  and  practices  is  quite  another.  Their  jrnpassiqned_ 
_sub4£Ctivity_,  their  wjiimsical  formlessness,  their  advocacy 
^>f  marriage  agiiatre,  and  their  pathologicaLefiusions^. — on 
these  things  Goethe  could  only  turn  a  deaf,  if  not  defiant, 
ear.  Nor  could  he  accept  their  theory  of  Old  German^rt, 
their  jieo-Catholic  sentimentality,  the  later  .mysticism  of 
his  former  friend  Schelling  to  say  nothing  of  that  of 
Gorres,  their  jdolization  o£  jazingss,  and  thejueactionary 
Jendencies  along  political  lines  as  they  had  become  em- 
bodied in  the  works  of  Novalis  and  Gentz.  In  short, 
Goethe  could  not  side  with  the  Romanticists,  young  or 
old,  in  matters  of  basic  importance.  Visionaries  that  they 
predominantly  were,  they  looked  backward  ;  realist  that  he 
preeminently  was,  he  looked  forward.  x*" 

Those  of  his  works  that  show  most  clearly  that  he  lived 
in  an  age  of  Romanticism  are  listed.  If  we  speak  of  the 
"  Romantic  School "  and  this  only,  the  list  is  too  long ; 
if  we  speak  of  the  Romantic  movement,  and  this  outline 
concerns  the  movement,  the  list  cannot  be  made  shorter. 

[17] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Schiller's  connection  with  the  Romanticists  is  a  long, 
negative  story ;  they  disliked  him  personally  and  profes- 
sionally. There  were,  to  be  sure,  at  first,  about  1795,  some 
signs  of  friendship  based  on  common  agreement ;  but  they 
soon  disappeared  and  did  not  reappear  until  about  a  gen- 
eration later.  He  and  they  could  not  agree  on  any  subject. 
Wilhelm  Schlegel  wrote  an  excellent  parody  on  his  "  Wiirde 
der  Frauen  "  and  Novalis  looked  upon  the  illogical,  fan- 
tastic fairy  tale  as  the  only  true  poetry,  according  to  which 
Schiller  would  be  no  poet  at  all.  Schleiermacher,  who 
certainly  could  have  cherished  no  personal  enmity  against 
Schiller,  praised  Friedrich  Schlegel' s  "Alarcos"  and  con- 
demned Schiller's  "  Braut  von  Messina"  in  the  same  breath. 
In'  the  famous  i^6th_fragment,  Friedrich  Schlegel  gave 
his  famous  definition  of  Romantic  poetry,  a  definition  to 
which  Schiller  could  not  in  any  way  subscribe.  Wilhelm 
Schlegel  delivered  (1808)  his  suggestive  lectures  on  dra- 
matic literature  and  did  not  draw  on  Schiller  for  illustra- 
tions. Solger  formulated  the  Romantic  doctrine  of  aesthetics 
and  deviated  as  far  as  possible  from  Schiller's  treatises  on 
the  same  subject.  Jean  Paul  did  not  mention  Schiller  in 
his  "  Vorschule  der  Aesthetik,"  Schelling  meandered 
through  the  whole  realm  of  the  tragedy  and  remained 
poles  removed  from  Schiller,  and  lesser  lights,  brought 
up  to  admire  Schiller's  early  plays,  turned  away  from  him 
and  to  his  opponents.  From  the  standpoint  of  theory, 
Schiller  came  off  ill  with  the  Berlin-Jena  group  of  Roman- 
ticists. And  after  the  War  of  Liberation,  the  Heidelberg 
group  and  its  numerous  clientele  did  some  creative  work 
that  tended  to  draw  attention  still  more  away  from  the 
author  of  "Tell"  and  to  those  that  were  producing  dramas 

[18] 


THE  CLASSICISTS  OF  WEIMAR 

and  epics  that  were  not  quite  so  patriarchal.  The  roman- 
tically inclined  read  "  Das  Lied  von  der  Glocke "  and 
laughed  at  its  Philistinism  while  the  Philistines  read 
.-Clauren's  "  Mimili,"  the  great  hit  of  the  year  1816,  and 
were  pleased. 

Nor  did  Schiller's  works  sell  well ;  nor  were  they 
played  frequently.  Cotta  brought  out  the  first  complete 
edition  in  1812-1815  m  twelve  volumes.  It  was  five 
years  before  a  second  edition  was  necessary.  The  only 
way  in  which  this  can  be  viewed  as  a  reasonable  demand 
for  the  works  of  Germany's  greatest  dramatist  is  to  re- 
member that  Germany  was  then  the  land  of  many  writers 
and  many  books.  And  on  the  stage  Schiller  came  unto 
his  own  slowly.  From  1834  to  1837,  Immermann  gave 
him  a  fair  hearing  at  Dusseldorf  ;  elsewhere  he  was 
neglected.  And  he  had  been  neglected,  strange  to  say, 
partly  because  of  the  popularity  of  dramas  that  were  so 
cheap  as  to  be  beneath  his  consideration  and  yet  so  flat 
as  to  make  no  appeal  to  an  orthodox  Romanticist.  "  Der 
Hund  des  Aubry  "  received  a  hearing ;  "  Die  Braut  von 
Messina  "  was  unwelcomed.  Taste,  like  genius,  remains 
unexplained. 

In  short,  it  is  impossible  to  find  conspicuous  similarity 
of  purpose  or  harmony  of  ideals  between  Schiller  and  the 
Romanticists.  Franz  Schubert  may  have  set  forty-six  of 
his  poems  to  music,  according  to  Brandstaeter,  and  Hegel 
may  have  agreed,  in  the  main,  with  his  philosophy,  ac-»| 
cording  to  Albert  Ludwig.  But  on  the  whole  there  was  a 
regularity  and  reality  about  Schiller's  theory  and  practice 
that  could  not  attract  those  otherwise  constituted.  There 
are  scattered  touches  of  Romanticism  all  through  his  works, 


OUTLINE  OF  GERMAN  ROMANTICISM 

just  as  there  are  in  the  works  of  any  great  poet ;  but  only 
a  few  of  his  creations  are  consistently  Romantic,  and  these 
are  here  listed. 

BIBLIOGRAPHY 

®ie  romantifcfye  ©djxtle  in  ifyrem  inneren  gufammenfyange  mn  (SJoetfye 
unb  ©Chiller.  By  Hermann  Hettner,  Braunschweig,  1850.  207  pp. 

©oetfjeg  SBilfjelm  3tteifter  unb  bie  aeftf)etifd)e  Soctrin  ber  alteren  "3io- 
manti!.  By  Heinrich  Prodnigg,  no  year,  no  place.  31  pp. 

©oetfye  unb  bie  Stomantif.   By  Stephan  Waetzoldt,  Berlin,  1888.  56 
pages,  including  the  lecture  on  "  Die  Jugendsprache  Goethes." 
I      35er  ©influfc  SBUfyelm  SJteifterg  auf  ben  Stoman  ber  SHomantifer.   By 
J.  O.  E.  Donner,  Berlin,  1893.    2I1  PP- 

3)ie  ciltere  Stomantif  unb  bie  $unft  beg  jungen  ©oetfje.  By  Hans  Rb'hl, 
Berlin,  1909.  164  pp. 

2)d3  romantifcfje  2>rama.  By  Karl  Georg  Wendriner,  Berlin,  1909, 
1 68  pp.  (A  study  of  the  influence  of  "  Wilhelm  Meister  "  on  the  drama 
of  the  Romanticists.) 

©oetfye.  @ein  £eben  unb  feine  SBerfe.  By  Albert  Bielschowsky,  Miin- 
chen,  1904.  Volume  2,  pages  469  to  475,  and  chapter  4,  pages  77  to  101. 
Bielschowsky  died  before  the  work  was  finished.  Theobald  Ziegler 
helped  to  finish  it.  He  interpolated  the  section  on  "  Goethes  Verhalt- 
nis  zur  Romantik,"  the  first  reference,  and  the  fourth  chapter,  dealing 
with  Goethe's  relation  to  Fichte,  Schelling  and  Hegel. 

©oet&e  unb  bie  3tomantif.  By  Carl  Schiiddekopf  and  Oskar  Walzel, 
Weimar,  1898.  Volumes  13  and  14  of  the  publications  of  the  "  Goethe- 
Gesellschaft."  Each  volume  contains  an  elaborate  introduction  (to  the 
letters  that  follow)  on  the  works  of  Goethe  that  show  influence  of,  or 
relation  to,  Romanticism. 

Sliitejeit  ber  Stomanti!.  By  Ricarda  Huch.  Pages  198  to  219  on 
"  Goethe  und  Schiller." 

@cf)Uler  unb  bie  Stomantif.  By  Oskar  Franz  Walzel,  Berlin,  1893. 
In  the  "  Sonntagsbeilage  der  Vossischen  Zeitung,"  numbers  41  and  42. 

©djiller  unb  bie  Sriiber  <Scf)legel.   By  Carl  Alt,  Weimar,  1904.  130  pp. 

$laffi3i3mu§  unb  3Jomantif  in  ©cfyroa&en  ju  Slnfang  unfereg  ^af)r= 
hunbertg.  By  Hermann  Fischer,  Tiibingen,  1889.  22  (quarto)  pp. 

@d)UIer  unb  bie  beutfdje  3iacf)n)elt.  By  Albert  Ludwig,  Berlin,  1909. 
679  pp.  Read  pages  52  to  202.  This  is  the  best  work  on  the  subject ;  so 
far  as  Schiller's  relations  to  Romanticism  are  concerned,  it  is  definitive. 

[20] 


THE  CLASSICISTS  OF  WEIMAR 

READING    LIST 
Goethe : 

S   1794.  2)a3  9H(ird)en,  39  pp. 

v    1796.  SBHfjelm  2JJetfters  i?ehrjaf)re,  novel,  726  pp. 

1799.  2ld)U(ei<3,  epic  poem,  20  pp. 

1800.  ?|5altiopf)ron  unb  9?eoterpe,  dramatic  dialogue,  10  pp. 
-    1802.  3)te  natiirlidje  Xodjter,  tragedy  in  5  acts,  128  pp. 

1807.  £)ie  neue  ajJeluftne,  fairy  tale,  28  pp.    Conceived  much  earlier, 

committed  to  paper  in  1807,  published  in  Cotta's  "  Taschen- 
buch  fiir  Damen"  in  1817  and  1819,  later  incorporated  in 
"  Wilhelm  Meisters  Wanderjahre." 

1808.  ^Jonbora,  festival  play,  fragment,  37  pp. 
V/ISCKJ.   SBaljloerroanbtfdjaften,  novel,  302  pp. 

1811.  35er  neue  ^Sari^,  ein  $nabenmd'rd)en,  15  pp. 
1814.  2Ba<3  roir  bringen,  festival  play,  62  pp. 
^  1815.   35e§  ©pimembeS  ©rroacfjen,  festival  play,  in  2  acts,  38  pp. 
-    1819.  3Beft=Defttirf)er  25itwn,  poems,  144  pp. 
1827.  9iot)elle,  27  pp. 

1818.    aJZa^fenjiige,  dramatic  allegories,  70  pp.    (Begun  in  1781.) 
V  Poems:  S)er  ©ott  unb  bie  23ajabere ;  2)ie  33raut  »on  5lorint^  ; 
©djaferS  Jllagelieb ;  ©rof;  ift  bie  Siana  ber  ©prefer ;  2BeIt= 
jeele ;  SUufen  unb  ©rajien  in  ber  DJarf ;  3afyme  Xenien  (67 
pp.) ;  ^noeltben  (20  pp.) ;  ©afontala;  {pans  ©adjfenS  poeti= 
fdje  ©enbung ;  3Zad)tgebanfen ;  Sag  ©onett. 
\S  1832.    ^auft,  second  part,  tragedy  in  5  acts,  286  pp. 

Schiller: 

(.•      1800.   2J?aria  ©tuart,  tragedy  in  5  acts,  195  pp.   Especially  the  char- 
acter of  Mortimer,  lines  409  to  450. 
v   1801.   2)ie  ^"ttSf^11  Don  Orleans,  tragedy  in  5  acts  and  prologue, 

130  pp. 

-^1803.   2)ie  33raut  con  5D?effina,  tragedy  in  4  acts  with  chorus,  100  pp. 
1804.   Sie  Sulbigung  ber  ftiinfte,  festival  play,  10  pp. 


[21] 


SECTION   IV 

THE  TRANSITIONALS 

Detailed  study  has  corroborated  tradition  in  referring 
to  Friedrich  Richter  and  Friedrich  Holderlin  as  the 
transitional  poets  between  Classicism  and  Romanticism. 
They  were  neither  wholly  classic  nor  wholly  romantic. 
Indeed  no  historian  of  German  literature  has  yet  had 
sufficient  originality  to  align  them  with  any  one  move- 
ment. And  they  themselves  were  almost  totally  dissimilar. 
Richter,  prolific  and  versatile  and  popular,  described  in 

;  queer  prose  the  small  but  interesting  incidents  in  the 
lives  of  the  doctors  and  farmers  and  teachers  and 
preachers  of  his  own  time  and  country ;  he  was  plebeian. 

/  Holderlin,  a  man  without  a  mind  at  thirty-six,  a  devotee 
of  Schiller's  idealism,  with  a  limited  but  weighty  message, 
portrayed  in  classic  verse  and  romantic  prose  the  lofty 
deeds  of  great  Greek  heroes  of  long  ago.  A  forerunner 
of  Nietzsche  in  his  despair  over  the  Germany  that  pro- 
duced him,  he  sang  of  Hyperion  and  Empedocles  and 
the  ether-dwelling  gods ;  he  was  patrician.  It  would 
seem  indeed  that  the  one  was  the  antipodal  shadow  of 
the  other.  And  yet  each  resembled  in  an  anticipatory 
way  the"  Romanticism  that  was  to  come,  in  that  both 
longed  for  an  unattainable  ideal,  both  projected  their  own 
personalities  on  the  pages  before  them,  both  were  form- 
less and  diffuse. 

[22] 


THE  TRANSITIONALS 

It  was  from  Jean  Paul's  novels  that  Friedrich  Schlegel, 
in  his  "Gesprach  iiber  die  Poesie,"  developed  his  definition 
of  the  novel  as  a  work  of  sentimental  content  in  fantastic 
form.  On  the  other  hand,  Tieck's  "  Loyell "  and  Jacobi's 
' '  All  will ' '  indubitably  stood  sponsor  for ' '  Titan . "  I  n  the  dis- 
cussion of  Romanticism  in  his  "Vorschule  der  Aesthetik " 
Jean  Paul  eloquently  betrays  his  interest  in  and  sympathy 
with  Romanticism,  while  in  "  Levana"  there  are  numerous 
instances  of  parallelism  with  the  works  of  Fichte  and  Schleier- 
macher.  From  the  standpoint  of  religion,  pedagogy,  individ- 
ualism, and  the  nature  of  the  poet,  Jean  Paul  was  not  only 
at  one  with  Romanticism,  he  was,  in  a  sense,  its  lawgiver. 

Holderlin's  theoretical,  professional  relation  to  Roman- 
ticism was  not  so  integral.  Though  he  died  at  the  age  of 
seventy-three,  he  enjoyed  but  fifteen  years  of  interrupted 
poetic  productivity.  Totally  devoid  of  humor,  unable  to 
understand  the  words  of  men  while  thoroughly  appreciative 
of  the  stillness  of  the  ether,  unable,  and  unwilling  had  he 
been  able,  to  follow  the  suggestion  of  Goethe,"  who  advised 
him  to  write  short  poems  based  on  subjects  of  tangible 
human  interest,  Holderlin  wrote,  however,  such  works, 
and  lived  such  a  life,  as  the  layman  believes  is  the  case 
with  all  romanticists.  His  translation  of  Sophocles  was 
begun  when  the  clouds  were  already  gathering  before  his 
mind  ;  his  one  novel,  "  Hyperion,"  consists  of  a  series  of 
melodious  dirges  of  two  idealistic  friends  on  the  degenera-  j 
tion  of  modern  Greece  ;  his  one  drama,  "  Empedokles,"  is 
a  haloed  apotheosis  of  nature ;  his  lyrics,  among  the  best  in 
German  literature,  are  ultra-romantic.  In  so  far  as  Ger- 
man Romanticism  was  retrogressive  longing,  Friedrich 
Holderlin  was  one  of  its  first  and  staunchest  advocates. 

[23] 


OUTLINE  OF  GERMAN  ROMANTICISM 

JOHANN  PAUL  FRIEDRICH  RICHTER  (JEAN  PAUL) 

Born  March  21,  1763,  at  Wunsiedel,  between  Bayreuth  and 
Hof.  Father  a  teacher  and  preacher.  Grew  up  in  extremely 
narrow  and  uninstructive  surroundings.  Attended  the  public 
schools  at  Joditz  and  Schwarzenbach,  the  gymnasium  at  Hof 
(1779-81),  the  University  of  Leipzig  (May  i78i-Nov.  1784). 
Tutor  at  Hof  and  Schwarzenbach  (1784-96).  Visited  Weimar 
(1796),  lived  there  from  1798  to  1800,  then  at  Meiningen  and 
Coburg.  Settled  at  Bayreuth  in  1804,  where  he  lived  the  rest 
of  his  days.  After  having  been  worshipped  by  many  women,  he 
married  (May  27,  1801)  a  plain  girl,  Caroline  Maier.  Prince 
Primas  Karl  von  Dalberg  gave  him  (1808)  an  annual  pension 
of  1000  guldens  ;  this  was  withdrawn  in  1813  and  then  paid  by 
the  king  of  Bavaria.  Heidelberg  conferred  on  him  the  honor- 
ary doctor's  degree  in  1817.  He  travelled  extensively  from  181 1 
to  1821  and  was  everywhere  highly  honored.  His  son  died, 
September  25,  1821,  at  Heidelberg,  a  blow  from  which  he 
never  entirely  recovered.  From  1821  on  he  suffered  from 
dropsy  and  almost  total  blindness.  Jean  Paul  —  he  possibly 
fashioned  his  name  after  Jean  Jacques  Rousseau — is  the  unique 
^figure  in  German  literature.  A  German  at  heart,  he  imitated 
\  the  French  and  English  writers  of  the  i8th  century;  he  wrote 
\  books  from  books,  having  kept  a  series  of  3cttctfaften  in  which 
~  he  compiled  excerpts  from  which  to  draw  later.  A  Romanticist 
\  I  in  that  the  formless,  picturesque,  diffusive,  personal,  subjectivistic, 
appealed  to  him.  While  Holderlin  poetized  the  great,  he  poetized 
the  small.  Great  difference  of  contemporary  opinion  as  to  his 
merits  ;  Herder  praised  him,  E.  M.  Arndt  excoriated  him.  More 
read  in  his  day  than  Goethe,  he  is  now  almost  totally  neglected. 
Wrote  almost  no  lyrics,  though  there  is  a  lyric  strain  in  his  novels, 
and  no  dramas.  The  master  of  the  odd,  his  books  have  queer 
titles  that  have  little  connection  with  the  contents,  and  his  char- 
acters have  bizarre  names.  Looked  upon  the  Romanticists  as 
false  prophets  of  a  true  doctrine.  (£r  ift  fnft  gleic^eittg  mit  ber 

*     [24] 

• 


THE  TRANSITIONALS 

romantifdjcn  Sdjutc  auftjctrctcn,  o'fjne  im  minbeften  baran  teit= 
juncfjmcn,  unb  eOcnfotucnig  Ijcgte  cr  jpcitcr  bte  mmbefte  ®e= 
meinfdjaft  nut  ber  ®oetljejd)cn  Stimfifdjulc.  Of  him  Maeterlinck 
says :  "  Jean  Paul,  the  romantic  and  mystic  Rabelais  of  the 
Germans,  the  most  powerful,  the  most  slovenly,  the  most  inex- 
haustible, the  most  chaotic  and  the  most  gentle  of  literary  mas- 
ters." And  Lowell  said :  "  Jean  Paul,  the  greatest  of  German 
humorous  authors,  and  never  surpassed  in  comic  conception  or 
in  the  pathetic  quality  of  humor,  is  not  to  be  named  with  his 
master,  Sterne,  as  a  creative  humorist."  He  died  at  Bayreuth, 
November  14,  1825. 

BIBLIOGRAPHY 

Sean  ^paul§  fa'mmtlidje  SBerfe.   Sixty  volumes  in  22,  Berlin,  1826-28. 
Sean  ^taltl3  fammtlidje  2Cet!e.    Thirty-four  volumes  in  17,  Berlin, 

1860-62. 

^ean  $aul3  auSgenuifjlte  3Berfe.  With  an  introduction  by  Rudolf 
Steiner,  Stuttgart  (Cotta),  8  volumes,  no  year. 

Sean  ^aul  ^-riebricf)  9M)ter3  Se&en  nefcft  (£^aractcriftif  jeiner  SBerfe. 
By  Heinrich  Doring,  Gotha,  1826.  208  pp. 

*  Sean  ^Saul.   ©ein  Seben  unb  feine  SBerfe.    By  Paul  Nerrlich,  Berlin, 
1889.    655  pp.    The  standard  source  of  information  on  Jean  Paul. 

Sean  $aul  ^rtebrtcf)  9lirf)ter  in  feinen  le^ten  Xagcn  unb  im  Xobe. 
By  R.  O.  Spazier,  Breslau,  1826.  172  pp. 

Sean  ^8aul3  ^8erfonlid)Ieit.  ^c^S6"^^^^6  Seriate.  Collected  and 
edited  by  Eduard  Berend,  Miinchen  and  Leipzig,  1913.  33erenb  fyat&afj 
unb  Siebe  ohne  ©infprucf)  unb  Stetufcfjterung  ju  SBorte  fommen  laffen, 
nur  in  ben  2lnmerfuna,en  gclegentlicf)  SBinfe  fi'tr  bte  33eurteilung  bes  33e= 
rirf)terftatter^  gegeben. 

Sean  ^anl  unb  jeine  3citgenoffen.    By  Paul  Nerrlich,  Berlin,  1876. 

374  PP- 

Sean  $aut  unb  feine  SBebeutung  fitr  bie  ©egenroart.  By  Josef  MUller, 
Miinchen,  1894.  436  pp.  • 

Sean  $aul3  Sidjtung  im  Si(f)te  unferer  nationalen  ©nhoirfeumg.  By 
K.  C.  Planck,  Berlin,  1867.  185  pp. 

Sean  ^Saut=<Stubten.    By  Josef  MUller,  Miinchen,  1900.    176  pp. 

Sa§  aSerlja'ltniS  Sean  ^aul3  jut  ^hilofop^ie  jeiner  £eit.  By  Walther 
Hoppe,  Leipzig,  1901.  83  pp. 

[25] 


OUTLINE  OF  GERMAN  ROMANTICISM 

problem  ber  $erfonlicf)feit  bei  Sean  $aul.  By  Walter  Weng- 
hofer,  Jena,  1907.  51  pp. 

Sean  ^Saul  aI3  ©rofjmeifter  beutfdjen  §umor3.  By  Eduard  Kauffer, 
Reudnitz,  1869.  238  pp. 

Sean  ^aulsi  ^legeljahre:  2Jfaterialien  unb  Unterfudjungen.  By  Karl 
Freye,  Berlin,  1907.  305  pp. 

Sean  ^SattB  35erE)altni3  511  ben  Itterarifcfyen  ^Jarteien  feiner  3eit.  By 
Eduard  Berend,  Berlin,  1908.  67  pp. 

Sean  ^BatU3  fyofye  SJJenjdjen.  By  Johannes  Volkelt,  Munchen,  1908. 
(In  "  Zwischen  Dichtung  und  Philosophic,"  pp.  106-161.) 

©terne,  §tppel  unb  Sean  $aul :  @in  Seitrag  jur  ©ejd^icl)te  be^  ^umo= 
rifttfd^en  3ioman3  in  Seutfd^Ianb.  By  Johann  Czerny,  Berlin,  1904.  86  pp. 

READING    LIST 

1783.  ©ronlctnbtfrfje  $ro3effe,  satirical  narrative,  230  pp. 

1792.  S)te  unjicfytbare  Soge,  prose  narrative,  502  pp. 

1795.  ^e^peru^,  prose  narrative,  793  pp. 

1796.  Sefcen  be^  £Uttntu3  ^i^Ietn,  prose  narrative,  265  pp. 

1796.    <Sie6enf(i<»  (Flower,  Fruit  and  Thorn   Pieces),  prose  narrative, 

577  PP- 

1803.  £ittttt  (his  chief  work),  prose  narrative,  1287  pp. 

1804.  ^tegeljafyre  (partly  biographical),  prose,  518  pp. 
1804.  35ie  SBorfcfyule  ber  3leftf)eti!  (critical),  359  pp. 
1809.  2)r.  ^a^cnbergcrS  33abercije,  prose,  293  pp. 


JOHANN  CHRISTIAN  FRIEDRICH  HOLDERLIN 

Born  March  20,  1770,  at  Lauffen  on  the  Neckar,  in  Wiirttem- 
berg.  His  father,  a  convent  tutor,  died  in  1773.  His  mother 
married  again  (1774)  a  friend  of  her  former  husband,  Councilor 
Gock,  mayor  of  Niirtingen,  who  died  in  1779.  Reared  under 
direct  guidance  of  mother,  grandmother  and  their  women  friends. 
Attended  the  Latin  School  at  Niirtingen,  the  Parish  Schools  at 
Denkendorf  and  Maulbronn  (i  784-88),  the  Protestant  Seminary 
at  Tubingen  (1788-93),  where  he  became  intimately  acquainted 
with  Neuffer,  Magenau,  Hegel  and  Schelling.  Schiller  secured 
for  him  (Sept.  20,  1 793)  position  as  tutor  to  the  son  of  Charlotte 

[26] 


THE  TRANSITIONALS 

/  von  Kalb,  one  of  the  two  important  women  in  the  Storm  and 
Stress" movement.  Held  the  position  until  1796.  Became  then 
tutor  in  the  family  of  J.  Gontard  in  Frankfurt  am  Main  (1796- 
98).  His  fatal  love  affair  with  Gontard's  wife,  Susette,  whom 
he  poetized  as  "  Diotima,"  a  name  taken  from  Plato's  "  Sym- 
posium," obliged  him  to  leave  Gontard's  house  forever.  The 
whole  affair  is  enshrouded  in  mystery.  He  then  thought  of  be- 
coming a  preacher,  or  of  editing  a  magazine,  Iduna,  or  of 
applying  for  a  position  as  dozent  at  Jena.  Secured  instead  a 
position  as  tutor  at  Hauptwil  (1800),  then  at  Bordeaux  in  Jan- 
uary, 1802.  Left  Bordeaux  (May  10,  1802),  possibly  because 
he  was  called  on  to  preach,  walked  across  France,  was  robbed 
on  the  way,  entered  the  room  of  Matthisson  in  Stuttgart  (July, 
1802)  a  man  without  a  mind.  Susette  Gontard  died  May  22, 
1802.  Holderlin  partially  recovered,  studied  Pindar  and  trans- 
lated Sophocles'  "Antigone"  and  "  CEdipus."  Suffered  relapse 
in  1807,  and  never  recovered.  Handsome  in  appearance,  of 
gentle,  artistic  temperament.  Influenced  in  his  youth  by  Klop- 
stock's  Teutonism,  by  Macpherson's  "  Ossian,"  Schiller's  "  Phi- 
losophische  Briefe  "  and  "  Don  Carlos,"  Rousseau's  "  Contrat 
social,"  C.  F.  D.  Schubart's  hatred  of  tyranny.  An  overweening 
idealist,  fond  of  music  with  some  musical  ability,  classic  in  form, 
romantic  in  content,  given  to  abstractions,  elegiacally  inclined, 
resembling  Keats,  one  of  the  transitional  poets,  he  wrote  some  of 
the  most  wonderful  lyrics  of  German  literature.  Has  never  been, 
and  can  never  become,  one  of  Germany 's  popular  writers.  §  o  1  b  e  r = 
lin'3  ©cbirfite  ftnb  fctn  Scbcit.  (Sr  Icbte,  urn  511  btdjtcn,  itnb  erft 
im  ©cbirfjt  Umrbc  fcin  Scbcn  Ujm  Icbcnbig.  Died  at  Tubingen, 
June  7,  1843. 

BIBLIOGRAPHY 

§riebridj  £>6IberUn3  fcimmtlidje  SBcrlc.  By  Christoph  Theodor 
Schwab,  2  volumes,  Stuttgart,  1846.  Volume  2  contains  (pp.  263-333) 
igolberlinS  £eben. 

SjbolberlinS  gefammelte  3)tdE)tungen.  With  a  biographical  introduction 
by  Berthold  Litzmann,  2  volumes,  Stuttgart  (Cotta),  no  year. 

[27] 


OUTLINE  OF  GERMAN  ROMANTICISM 


gefummelte  3Berfe.  By  Wilhelm  Bohm,  Jena, 
3  volumes,  1911.  Contains  introduction,  Volume  i,  pages  i  to  cxix. 

}Q6lberlin3  SBerfe.  One  volume  in  4  parts,  edited  with  biographical 
introduction  and  separate  introductions  to  the  different  works  by  Marie 
Joachimi-Dege,  Berlin  (Deutsches  Verlagshaus  Bong  &  Co.),  1913.  Pos- 
sibly the  best  place  to  read  Holderlin.  A  splendid  bit  of  printing. 

£>td)tungen  t>on  ^riebrtcf)  Jgolberlin,  mit  biographifdjer  ©inlettung. 
By  K.  Kostlin,  Tubingen,  1884.  187  pp. 

SSorarbeiten  unb  Seitriige  311  einer  fritifcfjen  2lu3gabe  Spolberlinio.  By 
Robert  Wirth,  Plauen,  1885.  30  (quarto)  pp. 

£>ie  3ugenbbtd)tungen  griebrid)  §6lberIinS.  By  Rudolf  Grosch, 
Berlin,  1899.  46  pp. 

gtiebrid)  foolberlin  unb  feme  SBerfe.  By  Alexander  Jung,  Stuttgart, 
1848.  279  pp. 

Sag  (Srle6ni3  unb  bie  £)id)tung.  By  Wilhelm  Dilthey,  Leipzig,  1907. 
455  PP-  'Preats  Lessing,  Goethe,  Novalis,  Holderlin  (pages  330—455). 
Of  very  great  value. 

SSerfdjroarmte  35eutfd^e.  By  Moeller  van  den  Brack,  Minden  i.  W., 
no  year.  Holderlin  (pages  126-163). 

Seutfcfje  .(Sharaftere.  By  Gustav  Kiihne,  Leipzig,  1886.  Holderlin 
(pages  235-258). 

©efammelte  3leben  unb  2luffa^e.  By  August  Sauer,  Wien,  1903. 
400  pp.  Holderlin  (pages  1-25). 

S5ie  ©ntroic!elungggefcf)icf)te  oon  §6lberlin^  §nperion.  By  Franz  Zin- 
kernagel,  Strassburg,  1907.  242  pp. 

$nebrid)  £»olbcrlin:  @ein  Seben  unb  jeine  Sid^tungen.  By  Carl 
Miiller-Rastatt,  Bremen,  1894.  183  pp. 

3in  bte  9la<fyt.  @in  2)id)terle6en.  By  Carl  Muller-Rastatt,  Florenz  and 
Leipzig,  1898.  204  pp.  (A  story  with  Holderlin  and  his  friends  as  char- 
acters.) 

griebridE)  ^olberlin  unb  Sofin  $eot3  al^  getfteSDerroanbte  Stater.  By 
Guido  Wenzel,  Magdeburg,  1896.  28  (quarto)  pp.  An  interesting 
study. 

©tubien  ju  §olberltn§  @mpebol(e§.  By  Wilhelm  Bohm,  Weimar, 
1902.  45  pp. 

2)ie  Sanbfdjaften  in  ben  3Ber!en  §olberlin§  unb  Sean  $aul3.  By 
Lothar  Bbhme,  Naumburg,  1908.  116  pp. 

<plberlin  unb  ©o^ilkr.   By  Ernst  Bauer,  Leipzig,  1908.   75  pp. 

(Stubien  ju§olberlin3  Dbenbid^tung.  By  Leo  Francke,  Breslau,  1910. 
44  pp. 

[28] 


THE  TRANSITIONALS 

• 

READING    LIST 

1799.   <0nperion,   a  novel  in  letter  form.     Five  different  versions  are 

extant;  best  are  those  of   1794  and  the  final  one  of  1797- 

1799.    148  pp. 

1799.   @tnpebofle3,  dramatic  fragment,  90  pp. 
1826.   Snrtfdje  ©ebicfjte,  begun  in  Holderlin's  youth,  nothing  written 

after  1807.   Best  poems:  ®a3  2lhnenbUb ;  35er  fclinbe  ©anger ; 

25icf)termutfj ;  2)er  gefeffelte  ©trom;  35em  ©onnengott;  SWein 

©igenthum ;  3)er  Xob  fiir^  SBaterlanb ;  ©efang  be§  Seutfc^en ; 

2tn  bie  Seutfdjen;  fonperion^  ©c^ictjalslieb ;  Slbenbp&antafie ; 

9tiidEie&r  in  bie 


[29] 


SECTION  V 

THE  WRITERS  OF  THE  BERLIN-JENA  GROUP 

To  believe  that  German  Romanticism  sprang  into  exist- 
ence, like  Pallas  Athene  from  the  head  of  Zeus,  full-grown 
and  with  a  clearly  defined  and  feasible  programme  on  a 
certain  day  in  1798,  would  be  like  believing  that  new  polit- 
ical parties  are  the  result  of  a  moment.  Neither  political 
nor  literary  phenomena  happen  this  way.  They  may,  to  be 
xsure,  come  to  a  head  overnight,  but  if  they  are  really 
r  momentous  they  have  been  a  very  long  time  in  the  making. 
There  has  always  been  a  romantic  strain  in  German  litera- 
ture, more  so,  possibly,  than  in  the  other  great  literatures, 
since  that  of  Germany  has  so  doggedly  concerned  itself 
first  and  foremost  with  the  individual  heart,  with  the  per- 
sonal affairs  of  the  writer,  with  things  German  rather  than 
I  foreign.  All  good  literature  must  contain  some  romanti- 
/  cism.  Goethe's  "  Iphigenie,"  though  in  no  way  a  romantic 
drama,  contains  one  verse  that  is  ultra-romantic,  namely,- 
2)a§  Sanb  ber  ©riecfjen  mit  ber  ©eele  fitdjenb.  This  verse 
might  almost  be  set  up  as  the  guiding  star  of  the  efforts  of 
Holderlin,  the  Schlegels  at  first,  Goethe  as  a  Romanticist, 
Wilhelm  Miiller  and  others.  And  if  we  substitute  some- 
thing else  for  ber  ©riedjen,  if  we  substitute,  say,  bes> 
28itnberfcf)iJnen,  the  verse  might  be  set  up  as  the  motto 
of  Romanticism  in  general.  But  between  the  years  1 748, 
the  year  of  the  appearance  of  the  first  three  cantos  of 

[30] 


THE  WRITERS  OF  THE  BERLIN-JENA  GROUP 


Klopstock's  "  Messias,"  and  i£2.?i  tne  vear  °f  the  estab- 
lishment of  Das  At/ienaum,  there  appeared  a  long  series 
of   spiritual   phenomena    in    literary   form   the    ultimate    ] 
result  of  which  was  systematic  Romanticism.    The  move-    \ 
ment  started  in  Berlin,  then  shifted  to  Jena,  and  then  y 
oscillated  between  these  two  towns.    Its  shibboleth  was 
"  War  against  Enlightenment,  War  for  Fancy."    Its  liter- 
ary leaders  were  the  Schlegels,  Tieck,  Wackenroder  and 
Novalis. 

Brrort-lived  indeed  was  this  Romantic  School.  Its  mem- 
bers had  too  many  irons  in  the  fire  ;  they  reacted  against 
too  many  things.  To  take  a  figure  from  pedagogy,  they 
were  too  appreciative  of  the  principle  of  "  situation  and 
response,"  so  that  they  suggested  much  more  than  they 
accomplished.  Some  of  their  ideas,  those  pertaining  to 
the  Church  and  the  State^  were  snap  judgments  impossible 
of  realization.  Others,  the  appropriation  of  foreign  litera- 
tures through  translations,  the  introduction  of  Christian  as 
opposed  to  Classic  art,  were  well  meant,  but  the  carrying 
out  of  even  these,  especially  the  latter,  led  to  a  disconcert- 
ing vagueness.  The  death  of  Novalis  and  Wackenroder 
and  the  paucity  of  works  that  the  general  public  would  and 
could  read,  made  the  idea  of  dismemberment  seem  ex- 
tremely plausible.  They  separated  and  each  went  his  own 
way,  but  they  had  started  a  school,  which,  in  default  of  a 
more  telling  name,  tradition  has  called  the  Berlin-Jena 
School. 

And  it  would  be  very  erroneous  to  believe  that  we  have 
to  do  here  with  a  well-organized  and  lasting  school.  The 
leaders  did  not  know  exactly  what  they  wanted,  and  they 
hung  together,  at  most,  only  from  1798  to  1804.  And 


OUTLINE  OF  GERMAN  ROMANTICISM 

when,  in  1804,  A.  W.  Schlegel  started  on  his  travels  with 
Madame  de  Stael,  and  Tieck  went  to  Italy/ there  was  no 
longer  any  such  thing  as  a  Jena  School.  Indeed,  it  is  only 
for  the  sake  of  convenience  that  Romanticism  is  ever 
spoken  of  in  connection  with  a  town.  And  from  this 
standpoint,  there  were  the  following  schools  (the  facts  are  , 
found  in  Kummer,  page  52)  :  JENA:  the  literary  leaders 
and  Karoline,  Schleiermacher  and  Schelling.  BERLIN  : 
Rahel  Lewin,  Bettina  von  Arnim,  Hoffmann,  Hitzig, 
Contessa.  DRESDEN  :  Adam  M tiller,  Tieck,  Kind,  Hell, 
Graf  Loeben,  P.  O.  Runge,  K.  D.  Friedrich,  Kleist.  KOLN  : 
the  Boisserees.  HEIDELBERG  :  Arnim,  Brentano,  Gorres, 
Eichendorff.  MUNCHEN:  Baader,  Schelling,  Oken.  WIEN: 
Friedrich  Schlegel,  Z.  Werner.  TUBINGEN  :  Uhland,  Ker- 
ner.  The  essential  differences  between  the  two  main 
schools  are  pointed  out  in  the  preface  to  the  Heidelberg 
group. 

JOHANN  LUDWIG  TIECK 

Tieck  was  born  at  Berlin,  May  31,  1773,  the  year  in  which 
Goethe's  "  Gotz  von  Berlichingen  "  appeared,  one  of  the  books 
from  which  the  young  poet- to-be  learned  to  read.  Berlin  was 
then  the  citadel  of  Rationalism.  His  father,  a  rope-maker  by 
trade,  a  man  of  considerable  experience  and  some  travel,  orderly, 
systematic,  practical  and  industrious  in  his  work,  opposed  his 
imaginative  son  in  any  and  all  schemes  that  seemed  to  him 
fantastic,  including  the  boy's  wish  to  become  an  actor.  As  to 
religion,  the  father  was  skeptical.  On  reading  one  day  in  Paul 
Gerhard's  hymn,  9?un  rufjcn  aEe  SSalber,  the  verse,  (£§  fd)Iaft 
bie  gcm^e  98elt,  he  said,  "  How  can  any  one  believe  such  stuff  ? . 
The  whole  world  does  not  sleep  ;  in  America  the  sun  is  now  shin- 
ing and  the  people  are  awake."  His  mother,  on  the  contrary, 

[32] 


THE  WRITERS  OF  THE  BERLIN-JENA  GROUP 

was  pious,  believing,  gentle  and  imaginative.  It  was  by  her 
that  Tieck's  fancy  was  first  aroused.  He  attended  (1782-92) 
the  Friedrich  Werdersches  gymnasium  in  Berlin,  a  thoroughly 
rationalistic  institution  then  under  the  leadership  of  Friedrich 
Gejdicke.  It  was  here  that  he  formed  his  friendship  with  Wack- 
enroder.  He  entered  the  University  of  Halle  in  1792  to  study 
theology,  but  devoted  the  major  part  of  his  time  to  letters. 
He  then  entered  Gottingen,  where  he  concerned  himself  pri- 
marily with  English  literature.  He  studied  for  a  short  while  in 
1794  at  Erlangen  with  Wackenroder,  returned,  however,  to 
Gottingen  in  the  same  year  and  finished,  after  a  fashion,  his 
studies.  He  then  spent  three  years  in  Berlin  writing  "  Strauss- 
federn  "  for  Nicolai,  the  most  extreme  of  the  Rationalists.  He 
married  Amalie  Alberti,  the  daughter  of  a  preacher,  in  1798 
and  moved  to  Jena  in  the  fall  of  1799,  where  he  associated  for 

_ten  months  with  the  other  Romanticists  and  Goethe.  From 
1801  to  1802  he  lived  in  Dresden  and  became  acquainted  with 
Henrik  Stejjeris  in  Tharandt.  From  1804  to  1819  his  head- 
quarters were  Ziebingen,  near  Frankfurt  an  der  Oder,  from- 
which  point  he  made  journeys  to  Italy  (1804),  Baden-Baden 
(1810),  Prag  (1813),  England  (1817).  From  1819  to  1841  his 
headquarters  were  Dresden,  where  he  became  court  councilor 

"and  dramaturge  of  the  Royal  Theatre.  In  1840  he  received  a 
call  from  Frederick  William  IV  to  come  to  Berlin  on  a  pension. 
He  accepted  and  lived  at  Berlin,  or  in  Potsdam,  the  rest  of  his 
days.  His  wife  died  in  1837,  ms  famous  daughter,  Dorothea,  in 
1841  ;  he  himself  died  at  Berlin,  April  28,  1853. 

The  life  of  Ludwig  Tieck,  the  leader  of  the  Berlin-Jena  School 
and  its  chief  poet,  falls  into  three  rather  distinct  periods.  From 
1789  to  1797  he  was,  by  vocation  at  least,  a  Rationalist.  From 
1797  to  1821  he  was  a  Romanticist  of  the  most  genuine  sort. 
From  1821  to  1853  he  was  a  Realist,  not  of  the  extreme 
modern  type,  rather  a  tamed  Realist,  one  who  had  passed 
through  one  literary  apprenticeship  that  was  never  wholly  con- 
genial to  him,  and  another  of  which  he  had  now  had  .enough. 

[33] 


OUTLINE  OF  GERMAN  ROMANTICISM 

-  Aside  from  his  activities <LasjdireclQr  of.  the  theatre  at  Dresden 
he  was  only  a  poet,  devoting  his  entire  life  to  letters  and  pro- 
ducing with  uncommon  rapidity.  He  had  a  great  talent  for 
making  friends,  a  mania  for  collecting  books,  and  an  insatiable 

.  desire  to  read  them.  He  was,  literally  speaking,  a  man  of 
dreams  and  visions.  It  is  said  of  him  that  he  could  not  appreci- 
ate Correggio  until  he  had  seen  in  a  dream  the  beauty  of  his 
works,  and  then  it  was  all  clear.  He  suffered  for  fifty  years 
from  gout  and  rheumatism  and  always  from  moods  artd  melan- 
choly. He  restored  to  the  Germans  their  old  chap-books,  made 
intelligent  and  pioneer  propaganda  for  Shakespeare  in  Germany 
gave  a  model  translation  of  Cervantes,  helped  to  purify  the 
•>•}  German  language  and  uplift  the  German  stage,  and  established 

^"(1821),  in  so  far  as  one  man  could  establish,  the  modern 
German  9hH)dlc.  He  wrote  in  all  23  dramas,  75  narrative 
pieces,  10  sketches  on  art,  45  literary  treatises,  107  dramatic 
criticisms  and  numerous  poems  aside  from  his  translations.  He 
was  famous  in  his  day  as  a  public  reader,  editor,  translator, 
critic,  dramaturge,  adapter  and  mimicker.  His  works  lack  life, 
since  he  wrote  mostly  for  aesthetic  reasons  rather  than  from 
real  inspiration.  Of  great  service  to  other  poets,  —  Lenz, 
Novalis  and  Kleist,  and  especially  Kleist,  —  he  received  in  turn 
decisive  influence  from  his  friend  Wackenroder.  Idolized  by  his 
contemporaries,  he  has  been  neglected,  until  recently,  by  poster- 
ity. Goethe  said  (1824)  of  him  :  £ted  ift  etn  talent  toon  fjofyer 
SBebeutung,  unb  e§  fann  feme  aufserorbenttidje  SSerbtenfte 
niemnnb  beffer  erfennen  at§  id)  felber ;  attetn  roenn  man  ifm 
iiber  if;n  felbft  unb  mir  gteid)fteKen  mitt,  fo  ift  man  im  Srrtiim. 
$d)  fann  btefe§  gerabe  f)erau§fagen,  benn  tt>a3  gcfjt  e§  mid)  an, 
id)  fyabe  mid)  nid)t  gcmad)t.  Schiller  said  (1799)  of  him:  <3dn 
^uSbrud",  ob  er  gteid)  leine  grofce  ®raft  j^eigt,  ift  fein,  Uer= 
ftanbig  unb  bebeutenb,  and)  f)at  er  nidjt§  ®ofette3  nod)  llnbe= 
fd)etbene§. 


[34] 


THE  WRITERS  OF  THE  BERLIN-JENA  GROUP 

f 

BIBLIOGRAPHY 

@d)riften.    Twenty-eight  volumes,  Berlin,  1828-1854. 
au3gerocif)lte  SBerfe.      Edited  by  Heinrich  Weld,  Stuttgart 
(Cotta),  8  volumes,  1888. 

©ebicfyte  oon  Subroig  2iecf.    Berlin,  1841.   598  pp. 

Subroig  Xiecf.    By  Rudolf  Kopke,  Leipzig,  1855.   698  pp. 

Subroig  XiedE.  By  Hermann  Freiherr  von  Friesen,  2  volumes,  Wien, 
1871. 

German  Romance.  By  Thomas  Carlyle,  Boston,  1841.  Biographical 
note  and  translation  of  "  Eckbert,"  "  Eckart,"  "  Runenberg,"  "  Elfen," 
«  Pokal." 

£iecf  al§  9iODelIenbid)ter.  By  J.  Minor,  in  "  Akademische  Blatter," 
edited  by  Otto  Sievers,  Braunschweig,  1884.  Pages  129-161  and  193-220. 

2>rei  Sapitel  com  romantifdjen  ©til.  By  Hermann  Petrich,  Leipzig, 
1878.  152  pp. 

Subroig  Xierf  unb  bie  33oIfS&itrf)er.  By  Bernhard  Steiner,  Berlin, 
1893.  88pp. 

Subroig  Siecf  al3  -Dramaturg.  By  Heinrich  Bischoff,  Bruxelles,  1897. 
124  pp. 

$ur  @ntroicfelung3gefdjirf)te  ber  9?oueUenbidE)tung  Subroig  XiedE^.  By 
T.  D.  Gamier,  Giessen,  1899.  54  pp. 

Subroig  £terf3  ©enooeua  alS  romantijd;e  Sidjtung  6etrad)tet.  By 
Johann  Ranftl,  Graz,  1899.  258  pp. 

Subroig  Xierf§  Snrif.    By  Wilhelm  Miessner,  Berlin,  1902.    64  pp. 

Subroig  £ierf3  ^ugenbroman  SKiUiam  Sooell  unb  ber  Paysan  perverti. 
By  Karl  Hassler,  Greifswald,  1902.  167  pp. 

Siomantifdje  Mritif  unb  Satire  Dei  Subroig  Xiecf.  By  Hans  Giinther, 
Leipzig,  1907.  213  pp. 

The  Nature  Sense  in  the  Writings  of  Ludwig  Tieck.  By  George 
Henry  Danton,  New  York,  1907.  98  pp. 

2)ie  Bronte  in  £iecf3  3BilIiam  SooeU  unb  feinen  SSorldufern.  By  Fritz 
Briiggemann,  Leipzig,  1909.  479  pp. 

^>f)ilipp  Dtto  SRunge  unb  Subroig  £ierf.  By  Siegfried  Krebs,  Frei- 
burg i.  B.,  1909.  53  pp. 

Subroig  £iecf  unb  ba^  eyarbenempfinben  ber  romantijd)en  2)id)tung. 
By  Walther  Steinert,  Dortmund,  1910.  241  pp. 

£iecf  unb  ©olger.    By  Erich  Schonebeck,  Berlin,  1910.   87  pp. 

£iecfS  ©influfi  auf  ^mmermann,  befonberS  auf  feineepifc^e^Srobuftion. 
By  Oskar  Wohnlich,  Tubingen,  1913.  72  pp. 

[35] 


OUTLINE  OF  GERMAN  ROMANTICISM 

READING    LIST 

1792.  Ser  2(&fdjteb,  tragedy,  54  pp. 
1795.  Sag  ©djirffal,  tale  (Straufsfebern),  52  pp. 
1795.  $arl  oon  Sernetf,  tragedy,  144  pp. 
1^*796.  3BilIiam  itooeE,  novel,  692  pp. 
Y  1796.  S)er  blonbe  ©rfbert,  fairy  tale,  28  pp. 
*—  1797.  2)er  geftiefelte  $ater,  fairy  comedy,  122  pp. 

1798.  ^rittj  3er6ino,  play,  381  pp. 
U798.  ^franj  @ternbalb3  2Banberungen,  Old  German  tale,  416  pp. 

Seben  unb  Xob  ber  tyeiligen  ©enooeoa,  romantic  tragedy,  272  pp. 
2)er  Slunenberg,  tale,  35  pp. 
$<rifer  DctODianil^,  romantic  comedy,  421  pp. 
I,  1811.   ^antafu^,  collection  of  tales  and  plays. 
1816.   ^ortunat,  fairy-tale  play,  497  pp. 
1821.  S5ie  ©emalbe,  (first)  novelette,  96  pp. 

1826.  S)er  3lufruf»r  in  ben  Seoennen,  novelette,  278  pp. 

1827.  Ser  ©ele^rte,  novelette,  50  pp. 

1829.  Sidjterleben,  (Shakespeare)  novelette,  165  pp. 

1833.  Sob  beg  3)td)ter§  (Camoens),  novelette,  256  pp. 

1836.  Set  junge  Xifc^lermeifter,  novelette,  466  pp. 

1837.  2)e3  Seben^  Ufierfluf;,  novelette,  68  pp. 
1840.  SBalbeinfatnfeit,  novelette,  95  pp. 
1840.  3Sittoria  Slccorombona,  novel,  288  pp. 

1853.  ©ebid^te,  dating  back  to  youth.  A  very  good  collection  of  Tieck's 
poems  is  found  in  the  Cotta  edition,  Volume  8,  pages  225-272. 
His  poems  are,  as  is  the  case  generally  with  the  Romanticists, 
scattered  throughout  his  prose  works.  Some  of  his  best  known 
;  ©djlaflteb;  25ie3Kuftf;  ©loffe;  £>ie  3etdE)en  im  JBalbe. 


WILHELM  HEINRICH  WACKENRODER 

Born  1773  (day  not  known)  at  Berlin.  Nothing  significant 
known  of  his  mother.  Father  was  a  Privy  Councilor  of  War, 
full  of  integrity,  a  lover  of  order,  acquainted  with  literature, 
pedantic.  Studied  with  Tieck  at  the  Friedrich  Werdersches 
gymnasium  in  Berlin,  then  studied  law  at  Erlangen  (1793)  and 
Gottingen  (i  793).  Finished  his  course  in  law  (1794)  and  became 
referendary  at  the  Chamber  Court  in  Berlin.  Duties  unspeakably 

[36] 


THE  WRITERS  OF  THE  BERLIN-JENA  GROUP 

distasteful.   The  altera  pars  of  Tieck,  with  whom  he  discovered  "• 
the  artistic  beauties  of  Niirnberg  and  whom  he  loved  in  nearly 
unhealthy  fashion.    Emphasized  the  national  and-  ecclesiastical^ 
jnjDainting_at  the  same  time  that  Goethe  was  emphasizing  the 
classic  and  symbolic.   Did  much_to  revivejjld  German-art.  The 
representative  impressionist  of  the  old  school.    Fine,  sensitive,  \, 
nervous,  emotional,  fantastic,  dreamy  temperament.     Died  at 
Berlin,  February  13,  1798. 

BIBLIOGRAPHY 

Xied  unb  SBacfenrober.  Edited  by  Jakob  Minor,  D.  N.  L.,  Volume  145, 
Berlin  and  Stuttgart,  no  year.  Introduction,  pages  i  to  viii. 

35ie  liperjengergiefeungen  eineg  funftlie&enben  $Iofter&riiber3.  By 
Heinrich  Wolfflin,  Hamburg  and  Leipzig,  1893.  *3  PP- 

SDBacfenrober  unb  jein  ©influfj  auf  £iecf.  By  Paul  Koldewey,  Gottin- 
gen,  1903.  212  pp. 

§erjen§ergiefiungen  etnes  hmftlie&enben  $lofter5ruber3.  Edited  by 
Karl  Detlev  Jessen,  Leipzig,  1904.  Introduction,  pages  i  to  xxxvi. 

READING  LIST 

1797.  §erjensergief!ungen  eine«j  funftliebenben  $Iofter5ruber3,  impres- 
sionistic essays  on  art,  174  pp.  (Tieck^  wrote,  3Sorrebe;  @e^n= 
juc^t  nao^  2>taKen ;  Sricf  beg  2J?aler^  Slntonio ;  Srief  eineg  bent' 
jdien  2«alerg  in  3tom;  Silbniffe  ber  2JJaler.) 

1799.  ^p^antaften  iiber  bie  $unft  fiir  ^reunbe  ber  5?un[t,  impressionistic 
essays  on  art,  104  pp.  (According  to  Minor,  Tieck  wrote  I. 
i,  2,  3, 4,  6,  7,  8,  9,  10 ;  II.  7,  8,  9,  10.) 


FRIEDRICH   LEOPOLD,  FREIHERR  VON  HARDENBERG 

(NOVAUS) 

Novalis  was  born  at  Oberwiederstedt  in  the  county  of  Mans- 
feld  on  May  2,  1772.  There  were  eleven  children  in  the  family, 
the  parents  were  Moravians  and  intensely  religious.  His  father, 
a  man  of  excellent  business  ability,  unsympathetic  with  his-' 
son's  poetic  inclinations,  became  (1787)  director  of  the  Saxon- 
Electorate  salt  works.  Weak  and  dreamy  as  a  child,  Novalis  l 

[37] 


OUTLINE  OF  GERMAN  ROMANTICISM 

1  woke  up  at  the  age  of  nine,  as  the  result  of  a  severe  illness, 
and  from  then  on  was  of  a  wonderfully  receptive  and  assimilative  ^ 
mind.  After  having  received  careful  training  from  his  pious 
mother  and  his  conscientious  tutor,  he  studied  at  Lucklum,  near 
Brunswick,  at  the  gymnasium  of  Eisleben,  and  from  1790  to 
1792  at  the  University  of  Jena,  where  he  became  interested  in 
law  and  philosophy  and  was  greatly  influenced  by  Fichte  and 
Reinhold,  and  especially  by  Schiller.  In  1792  he  entered  Leipzig 
and  began  his  association  with  Fr.  Schlegel.  He  finished  his 
studies  in  law,  mathematics  and  chemistry  at  Wittenberg.  On 
November  17,  1794,  he  entered  the  employ  of  the  salt  company 
at  Tennstadt,  near  Griiningen,  where  he  met  (1795)  Sophie  von 
Kiihn,  then  thirteen  years  old,  who  changed  his  present  and 
determined  his  future.  According  to  some  she  was  the  epitome 
of  grace  and  charm;  according  to  others,  of  ordinary  looks  and 
low  mentality.  Their  engagement  followed ;  she  became  ill  in 
1796  and  died  March  19,  1797.  He  now  reckoned  time  from  }/" 
this  date  and  "  arranged  "  to  die  on  the  anniversary  of  her  death. 
In  December,  1797,  however,  he_w_ent  to  Freiberg Jn  Saxony_±o_ 
study^fnining  under  A.  G.  Werner,  the  geologist  of  Romanticism, 
met  Julie  von  Charpentier  (1798),  became  engaged  to  her,  re- 
turned to  Weissenfels  and  became  a  director  of  the  salt  works 
\i  and  a  government  official.  He  died  of  tuberculosis,  in  the  arms 

*   of  Fr.  Schlegel,  on  March  25,  1801. 

Novalis  is  the  most  "  remarkable  "  figure  in  German  Roman-  i/ 
ticism.    Contrary  to  the  current  opinion,  he  had  good  business 
sense  and  ability  and  was,  at  the  same  time,  a  seraphic  poet 
and  an  idealistic  philosopher,  the  Prophet  of  the  Berlin-Jena  V^ 
School.  Except  a  few  poems,  he  left  all  of  his  works  unfinished. 
He  was  utterly  unknown  in  his  day — his  father  sang  his  hymns 
not  knowing  who  had  written  them.    And  when  Romanticism 
began  to  be  seriously  studied  by  scholars  and  frequently  imitated' 
by  poets  in  1890,  it  was  Novalis  who  was  first  revived.   Maeter- 
linck has  translated  his  "Fragmente"  and  "Lehrlinge  zu  Sais" 

'    into  French.,  As  originator  and  systematizer  of  the  blue-flower 

[38] 


THE  WRITERS  OF  THE  BERLIN-JENA  GROUP 

motif,  he  has  found  many  disciples.  Pure  in  character,  he  yet 
influenced  Heine.  The  gentle  phase  of  later  Romanticism,  as 
typified  in  Schulze's  "  Bezauberte  Rose,"  came  in  part  from  him. 
His  pseudonym  is  from  a  branch  of  the  family  (De  Novali)  that 
lived  in  the  thirteenth  century.  His  prototypes  were  Klopstock.  L, 
/  the  ©ottinger  §ain,  Burger,  Fichte,  Schiller,  and  Goethe  as 
*X  seen  in  the  first  three  fourths  of  "  Wilhelm  Meisters  Lehrjahre." 
Goethe  said  of  him,  (£§  lacj  in  ifjm  ba§  3eil9  511  etncm  3mpcrator. 
HHe  was  the  type  par  excellence  of  a  Romanticist  who  lived  with  i 
himself,  not  with  the  world.  Of  him  Maeterlinck  says :  "  He 
has  caught  a  glimpse  of  a  certain  number  of  things  one  would 
never  have  suspected,  had  he  not  gone  so  far.  He  is  the  clock 
that  has  marked  some  of  the  most  subtle  hours  of  the  human 
soul.  It  is  evident  that  he  has  more  than  once  been  mistaken ; 
but  despite  the  winds  of  folly  and  of  error  whirling  around  him, 
he  has  been  able  to  maintain  himself  a  longer  time  than  any  > 
other  on  the  dangerous  peaks  wherer^l  is  at  the  point  of  being 
lost.  He  seems  to  be  the  hesitant  consciousness  of  unity,  but 
the  most  vaguely  complete  that  we  have  thus  far  had.  And 
there  are  few  human  beings  in  whom  our  universe  was  more 
spiritualized  and  more  divinely  human." 

BIBLIOGRAPHY 

9Zot)alt3  @cf)riften.  Edited  by  Ludwig  Tieck  and  Friedrich  Schlegel, 
2  volumes  in  i,  Berlin,  1837.  This  is  the  fifth  edition;  the  first  ap- 
peared at  Berlin  in  1802.  The  fragment  "  Die  Christenheit  oder 
Europa"  was  first  published  in  the  fourth  edition,  Berlin,  1826.  Tieck 
and  Eduard  von  Billow  published  a  more  complete  edition  in  1846. 

9tot>ali3  ©djrtften.  Edited  by  Ernst  Heilborn,  3  volumes,  Berlin,  1901 . 

9foO(lH3  <Sd)riften.  Edited  by  Jakob  Minor,  4  volumes,  Leipzig,  1907. 
The  most  complete  edition.  Contains  prefaces  to  various  other  edi- 
tions, diary,  variants  and  a  biographical  sketch  by  Kreisamtmann  Just 
(Volume  i.,  pages  xlix  to  Ixxxiii). 

9JoDati3'  SBerfe.  One  volume  in  4  parts.  Edited  with  biographical 
introduction  and  special  introductions  to  the  different  works  by  Her- 
mann Friedemann,  Berlin,  no  year  (1913).  The-most  convenient  place 
to  read  Novalis. 

[39] 


K 


OUTLINE  OF  GERMAN  ROMANTICISM 

igeinrid)  Don  Dfterbingen.  Edited  by  Julian  Schmidt,  Leipzig,  1876. 
144  pp.  Contains  introduction,  pages  i  to  xxiii,  and  brief  notes. 

igetnrirf)  f  on  Dfterbingen.  Edited  by  Wilhelm  Bb'lsche,  Leipzig,  no 
year  (1903).  159  pp.  Contains  introduction,  pages  i  to  9. 

@ed()<)  pfyilofopfjifdje  SBortrage.  By  C.  Fortlage,  Jena,  1872.  238  pp. 
Novalis  (pages  73-115). 

§riebricf)  con  §arben6erg.  A  collection  of  valuable  documents  from 
the  family  archives  by  a  member  of  the  family.  Gotha,  1873.  25I  PP- 

Sorrow  and  Song.  By  Henry  Curwen,  London,  1875.  Treats  of 
"broken  lives,"  Chenier,  Chatterton,  Poe,  Novalis  (pages  101-197), 
Petofi,  Murger. 

9Zooali3  als>  religiofer  25irf)ter.  By  G.  A.  L.  Bauer,  Leipzig,  1877. 
46pp. 

2)er  ©influfj  SBUFjelm  3Keifter3  auf  ben  Sioman  ber  Siomantifer. 
By  J.  O.  E.  Donner,  Helsingfors,  1893.  211  pp.  Novalis  (pages  125- 

147)- 

iJlooali^.  By  Just  Bing,  Hamburg  and  Leipzig,  1893.  176  pp.  Bio- 
graphical sketch. 

'  Snrif.    By  Carl  Busse,  Oppeln,  1898.    160  pp. 

ber  Komantiler.    By  Ernst  Heilborn,  Berlin,  1901.    228  pp. 
Contains  a  valuable  catalogue  of  Novalis's  library. 

9to»alis>  al3  ^SfyUofopf).    By  Egon  Fridell,  Munchen,  1904.    in  pp. 

•JJooaliio.  By  E.  Spenle,  Paris,  1904.  473  pp.  In  French,  an  excel- 
lent treatise. 

3aro6  33ocl)me  unb  bie  SJomantiffit.  By  Edgar  Ederheimer,  Heidel- 
berg, 1904.  128  pp. 

^riebridE)  won  §arbenberg3  Sejie^ungen  jur  JJaturrotffenfcfjaft  feiner 
3eit.  By  W.  Olshausen,  Leipzig,  1905.  76  pp. 

$ur  Xejtgefc^icfjte  con  9Jot)ali3'  ^ragmenten.  By  Antonie  Hug  von 
Hugenstein,  Wien,  1906.  Pages  79  to  93  and  515  to  531. 

2)a3  @rle&ni3  unb  bie  Sicfytung.  By  Wilhelm  Dilthey,  Leipzig,  1906. 
405  pp.  Lessing,  Goethe,  Novalis  (pages  201  to  282),  Holderlin. 

•JZoDdlig  unb  ©opljie  non  ^ii^n.  Sine  pfno)op^nftologi|d)e  ©tubie. 
By  Johannes  Schlaf,  Munchen,  1906.  70  pp. 

•JZoDaliS'  §einricf)  con  Dfterbingen  al3  3di§brud  feiner  ^5erf6nlic^fett. 
By  Georg  Gloege,  Leipzig,  1911.  188  pp. 

3Serfc^n)armte  ^eutfd^e.  By  Moeller  van  den  Bruck,  Minden  i.  W., 
no  year.  Novalis,  pages  164  to  194.  It  will  be  noted  that  of  the 
twenty  references  here  listed,  only  five,  and  these  not  important,  pre- 
date 1890. 

[40] 


THE  WRITERS  OF  THE  BERLIN-JENA  GROUP 

READING    LIST 

1798.  25te  2ef)rlinge  311  <2ais>,  geological  fairy-tale,  38  pp. 

1799.  2)ie~G[jriftcnf)ctt  ober  (Suropa,  poetic  essay,  20  pp.    At  the  sug- 

gestion of  Goethe,  the  Schlegels  declined  to  publish  it  in  the 
Athenaum. 

V      1800.  Jpeinrid)  uon  Dfterbingen,  novel  in  two  parts,  first  part  complete, 
194  pp. 
ro&If  seiftlidje  i?ieber,  18  pp. 

1800.  @ed)3  £>nmnen  an  bte  9?ad)t,  prose  and  verse,  21  pp. 

1 80 1.  @ebicf)te,  $ragmente,  £age6urf)er,  dating  back  to  youth.  His  most 

popular  poems  are  3luf  griinen  33ergen  rotrb  geboren;  35er  ift 
ber  £err  ber  @rbe;  2>er  ©anger  gefjt  aiif  raufyen  ^faben ;  2Benn 
tc^  i^n  mtr  ^abe.  These  have  been  published  separately.  His 
fragments  are  so  unfinished  and  incomplete  that  to  say  what 
they  mean  is  to  speculate  and  nothing  more. 


AUGUST  WILHELM  VON  SQHLEGEL 

Born  September  8,  1767,  at  Hannover.  Father,  Johann 
Adolf  Schlegel,  preacher,  contributor  to  the  Bremer  Beitrdge, 
poet,  translated  (1751)  Batteux's  "  Einschrankung  der  schonen 
Kiinste  auf  einen  einzigen  Grundsatz."  Uncle,  Johann  Elias 
Schlegel,  one  of  the  most  talented  critics  before  Lessing,  a 
staunch  opponent  of  Gottsched,  a  serious  student  of  Shake- 
speare. Attended  the  lyceum  of  Hannover,  entered  Gottingen 
(1786),  studied  theology  and  philology,  influenced  by  C.  G. 
Heyne,  G.  A.  Burger  and  Friedrich  Bouterwek,  finished  his 
studies  in  1791.  Became  a  tutor  at  Amsterdam  in  1792,  held 
the  position  until  1794,  returned  to  Germany,  worked  with 
Schiller  until  1797,  taught  at  Jena  from  1796  to  1800.  Married 
Caroline  Michaelis,  widow  of  Boehmer,  a  physician ;  they  were 
divorced  in  1801,  and  she  married  Schelling.  Helped  in  the 
translation  of  sixteen  of  Shakespeare's  plays  (1797-1801), 
"Richard  III"  in  1810.  Lectured  on  art  and  literature  in 
^Berlin  from  1801  to  1804.  Companion  of  Madame  de  Stae'l 
\and  tutor  to  her  sons  from  1804  to  1813.  Visited  with  her 

[41] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Sweden,  Denmark,  Switzerland,  Italy;  never  left  her  until  her 
death  in  1817.  It  is  surmised  that  he  helped  her  write  "  De 
I'Allemagne."  Studied  Sanscrit  at  Paris  (1816-1817),  then  was 
appointed  professor  at  Bonn,  where  he  remained  till  his  death. 
Easy,  elegant,  correct,  chivalric,  vain,  generous  in  disposition. 
Extremely  weak  as  a  poet,  extremely  well-read,  the  foremost 
critic  of  the  Berlin-Jena  school  and  one  of  the  world's  greatest 
translators.  Made  the  literatures  of  India,  Italy,  Greece,  Spain, 
Portugal,  accessible  to  the  Germans.  Protestant  in  religion,  a 
follower  of  the  Classicists  of  Weimar  in  poetry ;  resembled  Herder 
somewhat  in  criticism  and  Wieland  in  literary  grace;  a  master 
of  prosody,  a  man  who  could  make  effective  the  ideas  of  others ; 
/the  systematizer  and  herald  of  the  Romantic  doctrines  of  art, 
he  carried  out  the  ideas  of  Lessing  in  his  attack  on  the  classical 
French  drama,  so  that  French  Romanticism  owed  him  much. 
Goethe  said  of  him :  (£r  tocift  uncnblicrj  bid,  unb  man  crfdjrtcft 
•faft  liber  feine  aufcerorbcntlic&cn  ftcnntntfjc  unb  fcinc  grofje 
SBelefenfjeit.  Stttein  bamtt  ift  c§  nictyt  getl)an.  5ttte  ®dd)rfam= 
fcit  ift  nod)  fcin  llrtfydt.  ©cine  Stritif  ift  burdjauS  dnfdtig. 
Died  at  Bonn,  May  12,  1845. 

BIBLIOGRAPHY 

2luguft  SBUfjelm  ©djlegclS  fammtlidje  SBerfe.  Edited  by  Eduard 
Booking,  12  volumes  in  6,  Leipzig,  1847. 

2)eutfd)e  5RationaI=^itteratlir.  Biographical  sketch  of  the  Schlegels, 
pages  i  to  Ixxv,  by  Oskar  F.  Walzel,  Volume  143,  Stuttgart,  no  year. 

$Ieine  @d)riften.  By  David  Friedrich  Strauss,  pages  122  to  184, 
Leipzig,  1862. 

$ur  (5ntftcf)ung3gefdE)iu)te  beg  <3cf)legclfcf)en  @^a!efpcare.  By  Michael 
Bernays,  Leipzig,  1872.  260  pp. 

£>ie  SBriiber  2luguft  2Bill)elm  unb  ^nebrid^  ©djlegel  in  tfjrem  SBerpIts 
mffe  JUt  btlbenben  ^unft.  By  Emil  Sulger-Gebing,  Miinchen,  1897. 
199  pp.  " 

The  Indebtedness  of  Samuel  Taylor  Coleridge  to  August  Wilhelm 
Schlegel.  By  Anna  Augusta  Helmholtz,  Madison,  Wisconsin,  1907. 
97  PP- 

[42] 


THE  WRITERS  OF  THE  BERLIN-JENA  GROUP 

READING    LIST 

1791.  2lu§  bent  2>taltenifd)en.  25ante.  liber  bie  gottlid)e  $omobie.  Vol- 
ume 3  ("  Schriften "),  pp.  199-388.  Appeared  in  Burger's 
Akademie  der  schone n  A'iinste,  Volume  i,  Part  3,  pp.  239-310. 
Discusses  the  political  conditions  of  Dante's  time. 

1795.  Sriefe  liber  ^Soefte,   ©tlbenmafc  unb  <3prad)e.  Volume  7,  pp. 

98-154.    Appeared  in  Schiller's  Horen  and  was  influenced  by 
Schiller's  "  Uber  naive  und  sentimentalische  Dichtung." 

1796.  @troa3   iiber   SBiUiam   O^afefpeare    bei    ©elegenb/eit    20ilf)elm 

9Jieifter3.      Volume   7,   pp.   24-64.      Appeared   in   Schiller's 
Horen. 

1797.  Uber  ©Ijafefpeareg  Borneo  unb  3>ulia.    Volume  7,  pp.  71-97. 

Appeared  in  Schiller's  Horen. 
1801.  @b,renpforte    itnb    Xriumpfybogen    fur   ben    £b,eaterpraftbenten 

con  $o£ebue.    Satire  in  prose  and  verse  against  Kotzebue, 

104  pp. 
1803.  3>on,  drama,  100  pp.  2)ie  ©teUe  im  1.  2lft,  roo  Son  bie  SSogel  au§ 

bem  Sempel  fd)eud^t,  ^at  ©rillparjer  in  ,,2)e3  SJZeere^  unb  ber 

Siebe  2BelIen"  benu^t. 
181 1 .   SJorlefungen  i'tber  bramatifdje  Munft  unb  ^iteratur.   Read  lectures 

i,  an3  26  to  31^- 
1821.   ©ebto^te.    Dating  back  to  1781.  Volume  i,  pp.  1-384.   SchlegePs 

poems  are  weak.    2lrton,  3>n  i>er  ^rembe  and  the  -one  on  the 

sonnet  are  fair.   The  sonnet  on  himself  is  a  poetization  of  his 

own  vanity. 


KARL  WILHELM  FRIEDRICH  VON  SCHLEGEL 

Born  March  10,  1772,  at  Hannover,  brother  of  August 
Wilhelm  Schlegel.  Their  father,  Johann  Adolf,  died  in  1793, 
the  year  Friedrich  made  his  literary  debut  with  his  essay  on  the 
schools  of  Greek  poets.  Dull  and  melancholy  in  his  youth,  his 
parents  thought  it  best  to  start  him  in  business;  but  in  1788 
he  entered  the  University  of  Gottingen  to  study  law  and  philol- 
ogy, went  then  to  Leipzig  and  turned  his  attention  to  literature. 
Influenced  by  C.  G.  Heyne.  Led  a  wild  life  while  at  Leipzig 
(May  1791-} an.  1794).  Became  interested  in  Greek  through 

[43] 


OUTLINE  OF  GERMAN  ROMANTICISM 

the  influence  of  Caroline  Michaelis-Boehmer,  influenced  by  Gott- 
fried Korner  in  Dresden  (1794-96).  Went  to  Jena  in  1796, 
where  he  worked  out  the  theory  of  Romanticism  from  Goethe's 
"  Wilhelm  Meister."  Broke  with  Schiller  (May  31,  1797)  partly 
because  Schiller  published  Caroline  von  Wolzogen's  "Agnes  von 
Lilien"  in  the  Horen.  Went  (1797)  to  Berlin  and  was  in- 
troduced by  the  musician  Reichardt  to  Henriette  Herz,  Rahel 
Levin,  Dorothea  Mendelssohn-Veit  and  Schleiermacher.  Estab- 
lished with  August  Wilhelm  Das  Athendum  (1798-1800), 
the  official  organ  of  the  older  school.  Lived  in  the  Romantic 
circle  in  Jena  from  1798  to  1800.  Broke,  partly,  with  his  brother 
after  writing  "  Lucinde."  Studied  Sanscrit  in  Paris  from  1801 
to  1808  and  published  the  magazine  Europa.  Lived  with 
Dorothea  Mendelssohn-Veit  from  1799;  sh"e~was  baptized  in 
1804  and  both  joined  the  Catholic  Church  in  1808  (or  1803), 
the  first  famous  "  conversion  "  since  the  days  of  F.  Stolberg. 
Went  to  Vienna  in  1809,  lectured  on  modern  history  and  litera- 
ture with  great  success ;  became  friendly  with  Metternich,  to 
whom  he  dedicated  his  "  Geschichte  der  alten  und  neuen  Litera- 
tur  "  (1812) ;  was  Secretary  of  the  Diet  at  Frankfurt  am  Main 
(1815-18)';  published  the  magazine  Concordia  from  1820  to 
1823,  a  paper  which  tried  in  vain  to  reconcile  the  conflicting  views 
on  Church  and  State.  Together  with  his  brother  Wilhelm  he 
was  the  originator  of  modern  criticism.  A  lazy  genius,  while  his 
brother  was  a  man  of  industrious  talent.  The  two  regenerated, 
or  created,  classigal^^hjlology ;  Friedrich  was  one  of  the  first  to 
make  a  real  study  of  Goethe  and  of  Lessing,  from  the  latter 
of  whom  he  in  part  derived  the  idea  of  "  Fragmente."  He 
drew  the  line  from  Fichte  to  Romanticism.  Goethe  defended 
him  and  had  his  "  Alarcos"  performed,  partly  because  Kotzebue 
attacked  him.  An  unusually  suggestive  writer;  it  was  he  who 
first  found  bte  <2prad)e  ber  rofjcn  nbcr  fraftigen  9?atur  in  ber 
ionifdjen,  bte  ber  Qh-iifje  in  ber  borifcfren,  bte  ber  <Sd)5nf)cit  in 
ber  attifd)en,  bie  ber  Siinftelet  in  ber  alcjanbrintjd)cn  3)id)tcr= 
fd)iitc.  So  it  always  was  with  him ;  he  gave  a  new  turn  to 

[44] 


THE  WRITERS  OF  THE  BERLIN-JENA  GROUP 

everything  he  touched.  His  wife  Dorothea  not  only  helped 
him  by  suggestion  but  did  some  of  the  work  now  published 
under  his  name.  He  said  of  the  literature  of  his  time :  (£tim= 
mung  roirb  Gtegenftanb  eine§  Srama,  unb  ein  bramatifdjer 
©toff,  toirb  in  ttyrtfcfye  gorm  ge^roangt.  Xie  fyerdorbringenbe 
ftraft  ift  raftlo§  unb  unftat,  .  .  .  bie  90?obe  fjulbigt  mtt  jebcnt 
5(ugenblicfe  etnent  ncuen  SlOgotte.  .  .  .  2)ie  beutfdje  ^oefte 
ftellt  ein  DoEftanbige£  geograpfyifrfjes  9?aturalien=£abinet  alter 
9?ational=dfjaraftere  jebe§  3eitfl^er^  un&  Je^r  SSeltgegenb 
bar  ;  nur  ber  beutjrf)er  fagt  man,  fe^te.  He  was  always  fond 
of  jesting,  especially  about  the  evils  that  had  come  over  the 
world  with  the  inventing  of  the  printing  press.  His  wife  died 
August  3,  1839;  he  himself  died  at  Dresden  while  giving  a 
series  of  lectures,  January  12,  1829. 

BIBLIOGRAPHY 

griebrtdj  con  <5d)Iegel3  jammtlic^e  SBerfe.  Fifteen  volumes  in  7, 
Vienna,  1847.  1°  tne  'ast  volume,  pages  263  to  288,  there  is  a  good 
biographical  and  critical  sketch  by  Ernst,  Freiherr  von  Feuchtersleben. 

griebrid)  ©djlegelS  profatfdje  3ugenbfd>riften  (1794-1802).  Edited  by 
J.  Minor,  Wien,  1906.  This  is  invaluable;  it  contains  those  brilliant 
flashes  of  incoherent  wit  that  characterized  the  youthful  writer. 

^debrief)  <3d)legel  unb  bie  Xenten.  By  Michael  Bernays,  Leipzig,  1869. 

56PP- 

griebnd)  ©djlegel  am  ShmbeStag  in  {jranffurt.  ByJ.Bleyer,  MUnchen, 

1913- 

Friedrich  Schlegel's  Relations  with  Reichardt.  By  S.  P.  Capen, 
Philadelphia,  1903.  49  pp. 

Frederic  Schlegel  et  la  genese  du  Romantisme  allemand.  By  I. 
Rouge,  Paris,  1904.  315  pp.  An  excellent  treatise. 

2)ie  religiongptiilofoj^ifdieaJMtdjten  ffiiebiidi-^jcj^egelg.  By  Wal- 
ther  Glawe,  Berlin,  1905.  45  pp. 

^riebrid)  <3cf)legel3  pfiilofop&ifdje  2lnfdjauungen  in  ifyrer  ©ntroicfe= 
lung  unb  jgftematijd)en  2lu^geftaltung.  By  Paul  Lerch,  Berlin,  1905. 
8a  pp. 

grtebrid)  Sd)legelei  ®cid)idjtopf)i(ofopf)ie.  By  Friedrich  Lederbogen, 
Leipzig,  1908.  86  pfK 

[45] 


OUTLINE  OF  GERMAN  ROMANTICISM 

READING    LIST 

1795.   liber  bie  Stotima,  prose  sketch,  Volume  4  ("Werke"),  pp.  71-116. 
1799.   Suctnbe,   formless  novel,   300  small  pages  in  the  first  edition. 

gaum  je  jurjor  nocf)  {pater  hat  etn  beutfdjer  3ioman  fold)  2lrger= 

ni£  erregt  rote  bie  Sucinbe. 
1802.   SUarcoS,  tragedy,  70  pp.    Written  in  many  different  verse  and 

strophe  forms.    Goethe  had  it  performed  at  Weimar ;  it  was 

at  this  performance  that  he  rose  from  his  seat  and  said  to  the 

audience,  ,,9ftan  larfje  ntc^t!" 
1804.   ©efdljtdjte  be§  3au&erer^  Berlin,  romance  in  prose,  Volume  7, 

pp.  1-140.    Really  written  by  Dorothea. 
1808.   3Som  llrfprung  ber  ^oefie,  prose  sketch,  Volume  8,  pp.  351-355. 

Valuable. 

1808.  U6er  bie  2Bets>l)ett  urtb  @prad)e  ber  3n^ier>  critical  discussion, 

in  pp. 

1809.  ©ebtcfyte.   Best  known;  Galberort;  ^m  2Balbe;  %m  ©peffart;  ©e= 

liibbe;  Seutfc^er  ©inn;  S5a§  ©roige;  2lu^  bem  ^lagegefange 
ber  Gutter  ©otteg;  2Beife  beg  3)i<f)ter3;  2ln  ^ubroig  XiedE. 
1812.  ©efc&icfjte  ber  alten  unb  neuen  Siteratur,  Volume  2,  pp.  1-248. 


[46] 


SECTION  VI 
THE  FATE  DRAMATISTS 

One  of  the  most  peculiar  episodes  in  the  Romantic 
movement  was  the  fate  drama.    More  interesting  than 
artistic,  it  grew  out  of  the  events  of  the  time.    From  1789 
to  i8jj.  Napoleon  was  the  man  nf  Fatp,    To  the  Germans 
he  seemed  like  the  mysterious  fulfiller  of  a  higher  will.. 
And  after  his  overthrow,  the  Holy  Alliance  of  Prussia, 
Austria  and  Russia,  which  nipped  in  the  bud  any  far-away 
hope  the  Germans  had  of  united  and  concentrated  effort^, 
seemed  like  a  second  fate,   worse  than  the  first.    Tne 
fearful  battles  of  the  War  of  Liberation  had  been  fought 
and  won  to  no  purpose  so  far  as  civic  and  social  and 
national  relief  was  concerned.    Small  wonder  then  that/- 
the  poets  of  the  time  visualized  and  reflected  such  un- 
toward incidents.    The  motif  in  Germany  was  not  the 
invention  of  any  one  poet.    A  movement  in  which  Tieck, 
Schiller  and   Grillparzer  played  each  a  prominent  part 
cannot  have  been  based  on  any  unity  of  action.    Also, 
it  is  a  vague  conceit.    When  is  a  drama  a  fate  drama  ? 
It  is  impossible  to  determine  this  with  stop-watch  accu- 
racy.   Purpose  and  chance,  or  fate,  frequently  play  parallel 
rdles  in  the  lives  of  men.    A  fate  drama  is  one  where  fate    V 
is  predominant,  where  the  turning  point  is  sharp  and  pro-    \ 
nounced  rather  than  round  and  therefore  somewhat  slow    \ 
in  development. 

[47] 


OUTLINE  OF  GERMAN  ROMANTICISM 

The  scheme,  for  scheme  it  was,  appealed  to  some  of  the 
Romanticists  because  it  gave  them  an  opportunity  to  utilize 
the  gruesome,  the  spectral,  the  criminal  and  the-mete- 
dramatic.  Then  there  was  Calderon,  whom  they  were 
studying  and  who  had  done,  after  a  fashion,  the  same 
thing.  Such  a  movement  could  naturally  have  but  a  short- 
lived existence,  and  by  1820  it  was  already  being  parodied 
by  Castelli,  Platen  and  others,  though,  like  Romanticism 
/  itself,  it  never  entirely  disappeared  and  traces  of  it  are  still 
to  be  found  in  the  works  of  Ludwig,  Hauptmann,  Hof- 
mannsthal  and  Schnitzler.  Nor  was  the  idea  original  with 
the  Romanticists;  it  was  employed  by  the  Greeks,  where 
the  great  —  the  gods  —  ruled  over  the  small  —  the  mortals. 
i'twas  the  reverse  •  Thp  smnll  n 


dateor_a_dagger  —  ruled  over  the,  great  —  the  mortals. 
The  three  most  conspicuous  fate  dramatists  are  Houwald, 
Miillner  and  Zacharias  Werner. 

An  idea  of  the  fate  drama  can  be  obtained  from  Milliner's 
"  Schuld,"  one  of  the  most  important  of  the  series.  The 
tragedy  was  written  in  1812,  first  performed  April  17, 
1813,  and,  after  a  few  scenes  had  been  published  in  Die 
Zeitung  fur  die  elegante  Welt,  it  appeared  at  Leipzig  in 
1816.  In  the  preface  to  the  third  edition,  written  in  1817, 
Miillner  says,  SBon  ber  <Sd)itlb  ftnb  6t3  jet>t  bret  £)tebe£>aus>= 
gafcen,  fjofftdjertoeije  9?adjbru<fe  genannt,  erftfjtenen.  It  was 
translated  into  English  by  W.  G.  Frye  under  the  title 
"The  Guilt,  or  the  Gipsy's  Prophecy,"  and  by  Gillies 
under  the  title  "  Guilt,  or  the  Anniversary."  Sainte-Aulaire 
translated  it  into  French  under  the  title  "  L'  Expiation," 
Dobrentei  translated  it  into  Hungarian,  and  there  is  also  a 
Danish  rendering.  The  play  was  highly  praised  in  its  day  ; 

[48] 


THE  FATE  DRAMATISTS 

that  it  contains  poetic  scenes  cannot  be  denied  even  by  the 
most  prejudiced,  though  it  is  not  so  effective,  dramatically, 
as  Werner's  "  Der  vierundzwanzigste  Februar."  Miillner 
denied  that  he  had  been  influenced  by  Schiller.  Aside 
from  servants  there  are  seven  characters  ;  the  place  is  the 
shore  of  the  North  Sea.  The  plot  is  as  follows  : 

Don  Valeros,  a  Castilian  lord,  has  a  son  Hugo,  who, 
on  account  of  a  prenatal  curse  pronounced  by  a  Gipsy 
woman,  has  been  entrusted  to  the  family  of  Count  Oerindur 
in  the  North.  After  reaching  maturity,  Hugo  goes  to 
Spain,  and  falls  fatally  in  love  with  Elvire,  the  wife  of  Don 
Carlos.  Hugo  kills  Carlos  while  hunting  and  he  and  Elvire 
then  go  to  the  North  according  to  a  previous  agreement. 
Valeros  follows  them  in  order  to  take  vengeance  on  the 
murderer  of  Carlos.  To  his  indescribable  surprise,  he 
learns  that  Hugo  and  Don  Carlos  are  brothers,  and  that 
the  curse  pronounced  by  the  Gipsy  has  been  fulfilled  on 
account  of  the  very  precautions  that  were  taken  to  obviate 
it.  When  Hugo  sees  what  he  has  done,  he  takes  his  own 
life,  Elvire  having,  in  the  meanwhile,  taken  hers.  The 
curse  of  the  Gipsy  was  as  follows : 

£agetang  totrft  bu  bid)  quaten, 
(£f)'  bu  quttt  tot r ft  beiner  Saft ! 
Sft,  toa§  bu  gebierft,  em  ®nabe, 
SSitrgt  er  beu,  beu  bu  fdjon  fjaft ; 
Sft'S  em  28etb§t>tlb,  ftirOt'S  burd)  tfjn, 
Unb  bu  fafjrft  in  ©unben  f)iu. 

The  motif  of  fate  is  ever  present.  Hugo  says  that  he  is 
not  sinful  and  murder-loving  by  nature,  but  that  an  unpro- 
pitious  fate  had  foredoomed  him  to  this  inevitable  end. 

[49] 


OUTLINE  OF  GERMAN  ROMANTICISM 

He  takes  his  life  with  the  same  dagger  that  Elvire  had 
thrust  into  her  own  heart,  and  both  die  on  the  anniversary 
of  Don  Carlos's  death.  The  motif  of  the  harp  with  the 
string  that  broke  is  also  effectively  used  and  never  lost 
sight  of ;  it  begins  the  drama  and  closes  it. 

As  Milliner  said,  it  is  perfectly  evident  that  he  could 
not  have  received  any  essential  inspiration  from  anything 
Schiller  ever  wrote ;  but  the  similarity  between  Milliner's 
"  Schuld  "  and  Grillparzer's  "Ahnfrau,"  written  only 
three  years  later,  lies  on  the  surface. 

Of  the  fate  drama  Heine  says:  S)te  ®riec&en  fiityten 
tt>of)l  bie  Iftonucnbtgfeit,  biefeS  quctluoKe  SSaritm  in  ber 
gobie  ju  erbriirfen,  unb  fie  erfannen  bae>  gatum.  .  .  . 
S)id)ter  unferer  3eit  Ijaben  ba3fe(6e  gefuhtt,  bas>  $atum  nad)- 
gebttbet,  unb  fo  cntftanben  unfere  hcuttgen  <3d)idfal<§tragobicn. 
Ob  biefe  9^ad)6ttbung  gtucEOcf)  war,  ob  fie  ii6er(jaupt  5le(jn= 
ticfjf  ett  mit  bem  grtedjtfdjen  llrbttb  Ijatte,  taffen  lt)ir  batjingeftellt. 
©enug,  fo  lob(td)  and)  ba§  ©treben  nod^  ^erDorbrtngung  ber 
©efu'^t^einf)ett  roar,  fo  roar  bod)  jene  @d)tctfal^tbee  etnc  fetjr 
tronrige  5(ii!§()u(fe,  ein  uncrqnidltdje^,  fdjtibltcf)e3  ©nrrogat. 
@anj  rtitberfpredjenb  ift  jene  @d)tcffa(§tbee  mit  bem  ®eift  unb 
ber  9#orat  unfercr  &it,  toekfie  betbe  bura^  ba§  Sljrtftcntum 
au^gebilbet  iuorben. 

CHRISTOPH  ERNST,  FREIHERR  VON  HOUWALD 

Born  November  29,  1778,  at  the  baronial  castle,  Straupitz  in 
der  Niederlausitz.  Family  ennobled  in  1656.  Father  a  lawyer, 
president  of  the  General  Court  of  Justice.  Studied  (1793-1802) 
domain-science  at  Halle,  where  he  formed  a  lifelong  friendship 
with  Contessa.  Married  1806.  Had  nine  children  of  his  own 
and  adopted  three  others.  Wrote  much  for  children.  Faithful 

[50] 


THE  FATE  DRAMATISTS 

attendance  to  his  duties  as  farmer,  land-syndicate  and  charity- 
officer  interfered  with  his  writing.  Main  period  of  poetic  pro- 
duction 1817-24.  Gentle,  lovable,  somewhat  sentimental  and 
melancholy  temperament.  Never  rich,  always  generous.  Pop- 
ular rather  because  of  his  disposition  than  because  of  his  genius. 
Decorated  by  Frederick  William  III  and  patronized  by  Frederick 
William  IV.  Died  on  his  estate,  January  29,  1845. 

BIBLIOGRAPHY 

©rnftoon^ouroalbS  jammtlidje  SBerfe.  Edited  (uncritical)  by  Fried- 
rich  Adami,  5  volumes,  Leipzig,  1859.  2)tt3  Se&en  be§  StdjterS,  by 
Adami,  Volume  i,  pp.  1-96. 

2)0§  @cf)tcffal3brama.  Edited  by  Jakob  Minor,  D.  N.  L.,  Volume  151. 
Introduction,  pp.  i-vii,  and  pp.  459-462  for  Houwald. 

2>te  <3d)icffal3tragobte  in  ifyren  £>auptoertreterrc.  By  Jakob  Minor, 
Frankfurt  am  Main,  1883.  189  pp.  Treats  Werner,  Miillner  and  Hou- 
wald (pp.  159-189). 

Spouroalb  a!3  Sramatifer.  By  Otto  Schmidtborn,  Marburg,  1909.  62pp. 
(Teildruck.) 

READING    LIST 

1817.  9iomantijcf)e  2lrlorbe,  miscellaneous  prose  sketches,  tales,  etc., 

426  pp. 

1818.  ©einem  @d)tcffal  faun  9Ziemanb  entgefien,  farce,  ridiculing  fate 

tragedies,  38  pp. 

1819.  ©ebtdjte,  Volume  IV,  pp.  543-664.   Begun  in  1797. 
1819.   2)a§  S3ilb,  tragedy,  178  pp. 

1819.  35er  #eud)tthurm,  tragedy,  84  pp. 

1820.  $luo)  unb  ©egen,  drama,  47  pp. 


AMANDUS  GOTTFRIED  ADOLF  MULLNER 

Born  October  18,  1774,  at  Langendorf.  Father  plain  and 
quiet.  Mother,  the  favorite  sister  of  G.  A.  Burger,  talkative  and 
imaginative.  Studied  (1789-93)  at  Schulpforta,  and  took  a 
course  in  law  at  Leipzig  (1793-97).  Practiced  law  at  Weissen- 
fels  from  1798  till  his  death.  Established  there  an  amateur 
theatre  in  1810.  An  actor  himself.  Almost  forty  before  he 

[51] 


OUTLINE  OF  GERMAN  ROMANTICISM 

began  to  write.  All  his  plays  written  between  1809  and  1819. 
In  1 8 1 2  he  wrote  two  comedies  and  two  tragedies.  His  comedies 
abound  in  uncles.  Edited  three  different  magazines.  Received 
(1805)  the  degree  of  doctor  of  laws  at  Wittenberg.  Married 
Amalia  von  Lochau.  Querulous  and  critical  by  nature.  Wrote  a 
few  prose  stories  that  deal  with  criminal  subjects.  Died  June  1 1, 
1829,  at  Weissenfels. 

BIBLIOGRAPHY 

3MIlner3  bramatifd)e  SBerfe.  Seven  volumes  in  4,  Braunschweig, 
1828.  Prefaces  by  Milliner. 

2MUner3  ^efcen,  Sfyarufter  unb  ©eift.  By  Professor  Dr.  Schiitz, 
Meissen,  1830.  480  small  pages. 

READING    LIST 

1812.   2)ie  ©djulb,  tragedy,  188  small  pages. 

1812.  3)er  neummbjnxxnjtgfte  fye&ruar,  tragedy,  72  small  pages. 

1815.  25ie  Dnfelei,  comedy,  100  small  pages. 


FRIEDRICH  LUDWIG  ZACHARIAS  WERNER       . 

Born  November  18,  1768,  at  Konigsberg.  His  father,  a 
professor  at  Konigsberg,  died  in  1782.  His  mother  was  nervous 
and  abnormal ;  she  died  in  the  obsession  that  she  was  the  Holy 
Mother  and  that  the  Savior  was  her  son.  He  attended  the 
University  of  Konigsberg  from  1784  to  1790.  Heard  Kant. 
Held  government  positions  in  South  Prussia  from  1793  to  1805. 
At  Warsaw  he  associated  with  E.  T.  A.  Hoffmann,  J.  E.  Hitzig 
and  Mnioch.  During  this  period  he  was  three  times  married  and 
three  times  divorced.  His  mother  and  Mnioch  died  on  Feb- 
ruary 24,  1804.  In  1805  he  received  a  government  position  in 
Berlin,  where  he  associated  with  the  men  of  letters  of  the  time. 
His  "Luther"  was  performed  in  Berlin  in  1806.  Received  from 
Prince  Primas  Dalberg  in  1809  a  pension ;  this  was  later  taken 
over  by  Karl  August  of  Saxe- Weimar.  Went  over,  first  secretly 
then  openly,  to  the  Catholic  Church,  became  a  priest  in  1814 

[52] 


THE  FATE  DRAMATISTS 

and  spent  the  rest  of  his  life  preaching  to  great  companies 
in  Wien.  A  man  of  real  gifts,  especially  along  the  line  of  the 
drama.  Admired  by  Schiller,  Goethe  and  Grillparzer  at  first; 
some  thought  he  would  take  the  place  of  Schiller  as  a  dramatist. 
His  best  poetic  years  were  1805-1810.  After  this  his  religiosity 
completely  carried  him  away.  One  of  the  most  unwholesome 
characters  in  German  literature.  Influenced  by  J.  Boehme, 
Tieck,  Wackenroder,  Schleiermacher.  Wrote  several  poems. 
His  sermons  read  rather  well.  Made  little  distinction  in  his 
youth  between  the  church  and  the  theatre  ;  he  preached  from 
the  stage  and  acted  from  the  pulpit.  3ncf)arta3  SBerner  tt)ar 
ber  ein^ige  3)ramattfer  bcr  <3d)ule,  beffcn  (Stiicfe  auf  ber  53ii()ne 
aufgefiifjrt  unb  bom  parterre  opplaubtert  ttwrben.  Died  at 
Wien,  January  17,  1823. 

BIBLIOGRAPHY 

$ac!)aria§  SBerner  :  La  Conversion  d'un  romanHque.  By  E.  Vierling, 
Nancy,  1908.  333  pp.  Appendix  of  37  pp. 

3ad)artag  28ernerg  2Beif)e  ber  $raft.  (Sine  ©tubie  jur  £ea)nif  beg 
Sramag.  By  Jonas  Frankel,  Hamburg,  1904.  141  pp. 

liber  ben  ©influjj  von  3ad)<ma3  SBernerg  2JZnftif  auf  fetn  bramati= 
jcl)eg  ©djaffen.  By  Karl  Irmler,  Metz,  1906.  40  pp. 

3acf)ariag  SBerner.  2Jh)fttf  unb  9iomantif  in  ben  ,,©of)nen  beg  Sfjalg." 
By  Felix  Poppenberg,  Berlin,  1893.  79  pp.  A  good  study. 

gadjariag  2Berner3  auSgenwfylte  ©c^rtften.  Fifteen  volumes  in  5, 
Grimma,  1841.  Volume  5  (pp.  14-15)  contains  a  biographical  sketch  of 
Werner  together  with  some  letters  and  excerpts  from  his  diary.  432  pp. 

READING    LIST 


1803.  2)ie  <36fjne  beg  £I)aIg,  drama  in  two  parts,  12  acts,  541  pp. 

1806.  2)ag  $reuj  an  ber  Dftfee,  tragedy  in  3  acts,  100  pp. 

1807.  SRarttn  iiutfjer,  ober  bie  3Beifye  ber  5lraft,  historical  drama  in  5  acts, 

225  pp. 

1808.  2Uttla,  $6mg  ber  Spunnen,  romantic  tragedy  in  5  acts,  168  pp. 

1808.  SBanba,  romantic  tragedy  in  5  acts,  with  songs,  85  pp. 

1809.  £>er  Dterunbftroanstgfte  ^ebruar,  fate  tragedy  in  i  act,  55  pp.         / 
1816.  2)ie  Gutter  ber  3Jiaffa6tier,  tragedy  in  5  acts,  172  pp. 

[53] 


SECTION  VII 
THE  WRITERS  OF  THE  HEIDELBERG  GROUP 

It  is  extremely  difficult,  it  is  indeed  impossible,  to  draw 
a  sort  of  literary  Mason  and  Dixon  line  between  the  old 
•''  and  the  young  Romanticists.  In  the  roauv-we  associate 
the  former  with  Jena  and  Berlin,  the  latter  with  Heidel- 
berg. In  general,  the  former  were  born  about  five  years 
before  the  latter.  But  then  there  were  all  kinds  of  natal, 
congenital,  regional  and  temperamental  exceptions.  Arnim 
and  Brentano  were,  for  example,  of  Berlin.  And  yet,  de-j  *, 
spite  the  fact  that  the  ideals  and  tendencies  of  the  two 
groups  were  more  or  less  similar,  it  was  largely  a  question 

/"of  the  North  and  the  South.    And  in  a  broad  way  it  can  . 
/  \T  ~^r 

f  be_  saidJJaat  the  North  was  critical,  the  South  was  creative^A 
V  And  then  we  think  of  Tieck,  to  whom  this  generalization 
is  unjust  —  generalizations  in  literature  are  always  unjust 
to  some  one.  And  it  was  also  a  question  of  Goethe.  He 
found  those  of  Heidelberg  more  congenial  —  they  were 
more  poetic.  They  collected  folk  songs,  and  that  reminded 
him  of  Herder,  and  of  himself.  They  wrote  works  that 
contained  more  human  touches  than  did  those  of  Tieck 
and  the  Schlegels,  and  that  pleased  him.  And  they  were 
younger  so  that  he  could  chide  them  and  send  them  away 
with  more  propriety  than  he  could  the  others.  And  he  did 
send  them  away  when  they  began  to  preach  an  extrava-^ 
gant  subjectivism  and  a  delicious  dolce  far  niente  and  a 

[54] 


THE  WRITERS  OF  THE  HEIDELBERG  GROUP 

Mediaeval  as  opposed  to  Classical  art.    By  1808  Goethe 
had  passed  through  his  era  ot  35eut)rf)e  $iinft ;  he  was  now 
interested  more  in  Helena  than  Herzeloide.    The  seconcNv 
part  of  "Faust"  is  indeed  Romantic,  but  it  is  Romantic  J 
in  the  old,  in  the  northern,  sense,  not  in  the  southern. 

The  fundamental  difference  between  the  Romanticism 
of  Berlin  and  that  of  Heidelberg  is  best  brought  out  in 
the  journals,  in  the  respective  official  organs,  of  the  two 
groups.  The  very  name  Athenaum  is  significant.  Either 
its  editors  are  manifestly  planning  to  look  down  from 
some  lofty  height  on  their  own  land  or  they  are  going  to 
revive  the  glories,  by  way  of  teaching  a  lesson,  of  some 
far-away  land  in  a  far-off  age.  They  did  the  latter.  Vari- 
ous other  names  were  at  first  suggested  for  this  paper : 
Herkules,  Dioskuren,  Parzen,  but  none  of  these  would  do. 
Neither  would  Deutsche  Annalen  nor  Freya.  Then  for  a 
while  it  was  a  choice  between  Schlegelenm  and  A  thenaum, 
and  this  was  chosen.  The  Schlegels  made  it  plain  that  they 
were  not  simply  the  editors  but  also  the  contributors.  Only 
a  select  few  wrote  for  this  journal.  And  Heine's  too  fre- 
quently quoted  remark  about  Romanticism  and  Mediaeval- 
ism  comes  to  poignant  grief  on  reading  this  journal.  Greece, 
the  Romance  peoples,  the  philosophy  of  the  late  eighteenth 
and  the  early  nineteenth  century,  and  the  authors  themselves, 
these  are  the  sole  themes  of  this  Romantic  magazine  with 
the  Classic  name.  Of  its  1047.  pages  there  are  scarcely 
47  pages  of  easy  reading.  \The  Athenaum  is  typical  of 
Berlin-Jena  Romanticism,  of  trie  North.  1 

With  Heidelberg,  with  the  South,  all  this  is  different. 
The  very  name,  Einsiedler-Zeitung  or  Trosteinsamkeit,  is 
again  significant.  The  editors,  Arnim,  Brentano  and  Gorres, 


OUTLINE  OF  GERMAN  ROMANTICISM 

were  not  planning  to  retire  from  their  own  land ;  they 
wished,  on  the  contrary,  to  revive  the  best  there  was  in  it, 
and  they  hoped  to  do  this  by  retiring  from  a  number  of 
"causes"  which  seemed  to  them  overworked  or  unworthy; 
and  not  the  least  of  these  was  the  idolization  of  Classical 
antiquity.  And  Heidelberg,  which  at  this  time  boasted  of 
such  names  as  Thibaut,  Creuzer,  Fries,  Bockh  and  Daub, 
and  which  was  on  the  point  of  getting  Tieck,  who  did  not 
write  for  the  Athenaum,  was  in  a  particularly  happy  posi- 
tion to  popularize  the  best  traditions  of  Germany.  There 
are  412  pages  in  the  Einsiedler-Zeitung,  as  published  in 
book  form,  and  there  are  about  100  different  articles. 
Excepting  a  very  few  by  Friedrich  Schlegel  and  Friedrich 
Wilken,  every  single  one  is  on  a  Germanic_theme. 

To  make,  therefore,  a  few  guarded  generalizations(jBerlin.^ 
Romanticism  was  critical,  philosophic,  foreign,  unpopular  ; 
Heidelberg  Romanticism  was  creative,  poetic,  Germanic, 
popular.    Berlin  abounded   in  irony,   was   cosmopolitan,  ^ 
unlyrical,  speculative,  and  more  perfect  in  form  ;  Heidel-£-x 
berg  had  more  humanness,  was  national,  readable,  lyrical, 
graphic,  and  richer  in  content.    Despite  Tieck's  prolific- 
ness,  no  writer  of  the  old  group  wrote  a  single  work  that 
is  still  read  for  pleasure's  sake  ;  each  writer  of  the  Heidel-  \/ 
berg  group  did.    Berlin  suggested,  Heidelberg  executed.  \S 
—The  main  poets  of  Heidelberg  were  Arnim,  Brentano, 
Chamisso,  Eichendorff  and  Uhland.    This  is,  however, 
only  a  conventional  grouping.  Arnim,  Brentano  and  Cha- 
misso lived,  after  1808,  in  Berlin  and  constituted  what 
might  be  called  a  second  Berlin  School.   Nor  was  Eichen- 
dorff of  the  South  by  birth.   Even  regional  generalizations 
are,  in  the  case  of  poets,  generally  impossible. 

[56] 


THE  WRITERS  OF  THE  HEIDELBERG  GROUP 

LUDWIG  JOACHIM  VON  ARNIM  (AcHiM  VON  ARNIM) 

Arnim  was  born  at  Berlin,  January  26,  1781.  He  came  of 
sturdy  stock  in  the  Mark,  his  family  belonging  to  the  nobility. 
After  attending  the  Joachimsthalsches  gymnasium  in  Berlin,  he 
entered  (i  7981)  the  University  of  Halle,  where  he  concerned  him- 
self with  physics,  then  a  popular  study.  In  1800  he  entered 
the  University  of  Gottingen,  where  he  continued  his  researches 
in  mathematics,  physics  and  chemistry.  As  early  as  1799  he 
published  an  article  on  electricity  that  attracted  attention.  It 
was  at  Gottingen  that  he  became  acquainted  with  Goethe  and1-"" 
Brentano;  the  latter  saved  him  for  literature.  From  1801  to 
1 8 1 4  he  lived  an  unsettled  life ;  travelled  through  South  Germany, 
Switzerland,  France,  England,  Holland,  the  Rhine  region;  was 
in  Heidelberg  from  1805  to  1806,  or  1807,  in  close  touch  with 
Brentano,  Gorres  and  the  Grimms.  He  then  lived  in  Berlin, 
Gottingen,  Heidelberg.  Weimar  and  Konigsberg.  In  1811  he 
married  Bettina,  Brentano's  sister,  with  whom  he  lived  an  ex- 
tremely happy  married  life ;  they  had  seven  children.  During 
the  War  of  Liberation  he  was  captain  of  the  fianbfturm.  In 
1814  he  retired  to  his  estate  at  Wipersdorf  near  Dahme,  near 
Berlin,  where  he  died  of  apoplexy  on  January  21,  1831. 

Arnim  bears  about  the  same  relation  to  the  Heidelberg  School  t^ 
that  Tieck  bears  to  the  Berlin-Jena  School.    A  loyal  Protestant,   < 
a  chivalric  gentleman,  a  noble  patriot,  he  condemned  Napoleon 
and  fought  for  the  reforms  of  Stein  when  it  was  even  physically 
dangerous  to  take  such  a  stand.   He  is  one  of  the  most  amiable  y-' 
\      characters  in  German  Romanticism,  one  who  never  allowed  the  t-- 
aberrations  of  the  movement  to  get  away  with  him.    Though 
known  now  chiefly  because  of  his  work  on  "  Des   Knaben 
Wunderhorn,"  in  which  he  was  interested  mostly  as  an  ethical, 
patriotic,   national  enterprise,   while   Brentano   was  concerned 
with  the  aesthetic  side  of  the  task,  he  nevertheless  wrote  some 
interesting  if  not  great  dramas,  many  lyrics,  mostly  scattered 
throughout  his  prose  works,  and  a  number  of  excellent  novels 

[57] 


OUTLINE  OF  GERMAN  ROMANTICISM 

•^  and  short  stories.  His  greatest  work  is  "  Die  Kronenwachtej;" 
W  He  was  a  great  student  of  Herder  and  a  great  admirer  of  Goethe. 
Eichendorff  said  of  him :  Sftdnnlid)  fd)i.in,  Don  eblem,  Ijofycm 
28ud)|c,  freimiittg,  feurig  iinb  milb,  juberlcifftg  itnb  efyrcnljnft 
in  allcm  SSefcn,  treu  511  ben  greunben  fjattenb,  tt>o  biefe  toon 
alien  ucrtaffen,  —  war  5trnim  in  bcr  Stfjat,  tt>a§  anbere  burdj 
mittclaltcrlic^en  3(ufpu^  gern  fd)cinen  rooltten :  eine  ritterticfje 
C£r[d)cinung  im  bcftcn  <3inne.  His  own  words,  a  sort  of  prayer, 
found  in  "Die  Kronenwachter,"  give  a  clear  idea  of  his  laudable 
ambition : 

©tb  Siebe  mir  unb  einen  frozen  9Jhmb, 

®a§  id)  bid),  fperr,  ber  ©rbe  tue  hinb ; 

©efunb^ett  gib  bet  jorgenfreiem  ©ut, 

@in  frommeg  §erj  unb  einen  feften  SUJut ; 

©ib  5ltnber  mir,  bte  alter  3Kiif)e  raert, 

25erfd)eud)'  bte  ^einbe  t>on  bent  trauten  §erb; 

©tb  5lit9el  bann  unb  einen  §iigel  @anb, 

Sen  §iigel  (Sanb  im  Ueben  SSaterlanb, 

jd)enl'  bent  abfd)tebfd)roeren  ©etft, 
er  fid)  leid)t  ber  fd)5nen  9Belt  entretjjt. 

BIBLIOGRAPHY 

2lrntm§  SCerle.  Edited  by  Monty  Jacobs,  Berlin,  no  year  ( 1910),  2  vol- 
umes. The  best  edition  for  the  general  student  (Goldene  Klassiker- 
Bibliothek),  contains  excellent  biographical  and  critical  introduction 
(pages  i  to  Ixx),  special  introductions  to  the  separate  works,  and  25 
pages  of  good  notes. 

SluSgenwfylte  Sftooellen.  Berlin,  1853.  Contains  9  of  Arnim's  short 
stories. 

2ld)tm  con  3lrntm  unb  bte  tljm  nafye  ftanben.  By  Reinhold  Steig  and 
Hermann  Grimm,  3  volumes,  Stuttgart,  1894-1904.  A  work  in  every 
way  monumental. 

2lrntm3  £rb'ft  ©injamfett.  Edited  in  book  form  by  Fridrich  Pfaff, 
Freiburg  and  Tubingen,  1883.  412  pages.  The  most  convenient  place 
to  study  the  official  organ  of  the  Heidelberg  School.  The  work  is  sup- 
plied with  an  introduction  of  96  pages. 

2)e3  $naben  SBunberborn.  By  Anton  Birlinger  and  Wilhelm  Crece- 
lius,  with  illustrations  by  H.  Merte  and  C.  G.  Specht,  2  volumes,  Wies- 
baden, 1874-1876.  A  valuable  work. 

[58] 


THE  WRITERS  OF  THE  HEIDELBERG  GROUP 

25e3  £naben  SBunberfyorn  unb  feine  Quellen.  By  Ferdinand  Rieser, 
Dortmund,  1908.  560  pp. 

2lrnim3  unb  33rentano3  romantijc^e  33olf3lteb=@rneuerungen.  By  J. 
E.  V.  Muller,  Hamburg,  1906.  74  pp. 

!£oUin3  Siebeleben.  Edited  with  an  introduction  by  J.  Minor,  Stutt- 
gart, 1883.  148  pp.  (An  excellent  study  for  the  biographical  material  in 
this  novel.) 

2)te  33ejteljungen  be§  SrcmtatiferS  2ldf)im  von  Slmim  jur  altbeutfcfyen 
Siteratur.  By  Walther  Bottermann,  Gottingen,  1895.  88  PP- 

S)ie  ©rtifin  3)0lore3.    By  Friedrich  Schulze,  Leipzig,  1904.    101  pp. 

2.  2lcf)tm  non  2lrnim3  geiftigc  ©ntroirfelung  an  feinem  S5rama  ,,§allc 
unb  3eruia'em/y  crlautcrt.  By  Friedrich  Schonemann,  Leipzig,  1912. 
269  pp.  Bibliography,  pages  xiv-xv. 

READING    LIST 

1802.  <goQin§  Siebeleben,  novel  on  the  style  of  "Werther,"  131  pp. 
1808.  £>e§  $naben  SBunber^orn.    (First  three  volumes.) 

1810.  2lrmutf),  9leic^t^unt,  ©d^ulb  unb  33u§e  ber  ©raftn  2)olore3:  cine 

roa^re  ©efc^ic^te  jur  Ief)rreicf)en  Unter^altung  armer  graulein, 
novel,  764  pp. 

1811.  9iooeQen :  3f  abeQa  con  Slgnpten,  1 1 5  pp. ;  35er  to  He  2>t">alibe  auf 

bem  ^ort  9latonneau,.i7  pp.;  ^iirft  (Sanjgott  unb  ©anger  §alb- 
gott,  40  pp. 

1811.  §alle  unb  Serufalem,  drama,  250  pp. 

1813.  2)ie  2lppelmanner,  puppet  play,  48  pp. 

1813.  Set  ©tra^lauer  5Urf)Ju9>  comedy,  28  pp. 

1817.  2)ie  ^ronenrodrf)ter.  Really  the  first  German  novel  of  importance 
taken  from  Germany's  remote  past.  Incomplete,  491  pp.  (Con- 
tains, as  do  all  of  Arnim's  works,  scattered  lyrics.) 

CLEMENS  MARIA  BRENTANO 

Brentano  was  born  at  Thal-Ehrenbreitstein,  September  8, 
1778.  The  one  poet  of  the  Romantic  School  of  Italian  parent- 
age, he  is  in  many  ways  connected  with  the  literary  lights  of  his 
day.  His  father,  Pietro  Antonio  Brentano,  married  Maximiliane 
von  Laroche  and  from  this  marriage  sprang  also  Kunigunde, 
the  wife  of  Savigny,  and  Bettina,  the  wife  of  Achim  von  Amim. 
Hermann  Grimm  married  Gisela  von  Arnim,  the  daughter  of 

[59] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Bettina;  Maximiliane  is  mentioned  in  "  Dichtung  und  Wahrheit," 
and  Sophie  Laroche,  the  grandmother  of  Clemens,  the  author  of 
"  Fraulein  von  Sternheim,"  was  a  friend  of  Wieland  in  his  youth. 
Brentano's  mother  died  in  1793,  his  father  in  1797,  leaving  the 
naturally  untractable  child  to  be  brought  up  by  an  embittered 
aunt,  Luise  von  Mohn.  He  lived  an  extremely  irregular  life.^ 
After  attending  preparatory  schools  in  Koblenz  and  Mannheim, 
he  was  placed  (1795)  in  an  oil  and  wine  store  in  Langensalza, 
where  unspeakably  distasteful  duties  devolved  upon  him.  In  1 797 
he  entered  the  University  of  Halle,  in  1798  Jena,  where  he  saw 
Wieland,  Herder,  Goethe  and  the  Romanticists.  He  married 
(1803)  Sofie  Schubert,  the  divorcee  of  ProfessorMereau.  She  died 
in  1806,  and  in  1807  he  married  Auguste  Busmann,  from  whom 
he  was  soon  divorced.  Later  in  life  he  fell  in  love,  in  Berlin, 
with  a  Protestant,  Luise  Hensel,  who  jilted  him.  On  February  2, 
1817,  he  went,  for  the  first  time  since  childhood,  to  the  priest 
to  confess,  and  lived  a  different  life  from  then  on.  From  1818 
to  1824  he  lived  in  Ditlmen,  observing  and  writing  down  the 
remarks  of  an  erratic  nun,  Katharine  Emmerich.  During  the 
last  eighteen  years  of  life  he  gave  up  poetry  entirely  and 
devoted  himself  to  Catholicism.  He  died  at  Aschaffenburg, 
July  28,  1842. 

Brentano  is  one  of  the  strangest  characters  in  German_Ro-t/ 
manticismyHe  lived  Romanticism.  He  wrote  some  good  lyrics; 
attacked,  in  satirical  skits,  Kotzebue;  did  some  excellent  work 
:on  "Des  Knaben  Wunderhorn";  wrote  some  of  the  best_fairy 
tales  in  German  literature;  discovered,  in  a  sense,  the  beauties 
of  the  Rhine ;  but  despite  all  this  it  is  impossible  to  vindicate 
his  life  and  works.  He  was  fantastic,  visionary,  unstable, 
sipated,  with  all  his  talents.  He  is  one  of  those  unfortunate 
poets  whose  life  one  tries  to  forget  while  reading  his  works. 
At  his  death  Diepenbrock  said:  SQZoge  ®ott  il)tn  ben  Sricben 
fd)enfcn,  ben  fein  unruljige§  ©emiit  auf  (Srben  nic&t  finbcn 
fonnte  ;  nicf)t  in  ber  ^Soefie,  nid)t  in  ber  SieOc  unb  §rcunbfd)aft 
unb  leibcr  jetOft  ntcijt  in  ber  9icligion. 

[60] 


THE  WRITERS  OF  THE  HEIDELBERG  GROUP 

BIBLIOGRAPHY 

Siemens  33rentano§  gefammelte  <SdE)riften.  Nine  volumes  in  5  parts, 
Berlin,  1852-1855. 

2)ie  2Jiarcf)en  be3  GlemenS  33rentano.   Edited  by  Guido  Gorres,  Stutt- 
gart, 1879.   Two  volumes  in  i,  contains  15  2Hcird)en  and  an  introduction      / 
of  40  pages. 

(Siemens  Srentano ;  ein  Se6en§6ilb.    By  P.  Johannes  Baptista  Diel,      | 
S.  J.,  and  Wilhelm  Kreiten,  S.  J.,  Freiburg  i.  B.,  1878.    An  unwieldy  book 
of  1013  pages. 

©Obnri.    Edited  by  Anselm  Ruest,  Berlin,  1906.    548  pp. 

©obroi ;  ein  $apitel  beutjcfjer  Siomanttf.  By  Alfred  Kerr,  Berlin,  1898. 
136  pp. 

2)ie  3Mrd)en  Sletneng  SrentanoS.  By  Hermann  Cardauns,  Koln, 
1895.  "6pp. 

©ntftefjung  unb  C-uellen  ber  2Hard)en  GlemenS  23rentano§.  By  Otto 
Bleich,  Braunschweig,  1896.  54  pp.  (In  Archiv  fiir  das  Studium  der 
neueren  Sprachen  und  Literaturen,  Vol.  50.) 

©viftttD  355afa.  Heilbronn,  1883.  136  pp.  (In  "  Deutsche  Literatur- 
Denkmale  des  18.  und  19.  Jahrhunderts,"  Vol.  15.) 

(Siemens  33rentcmo3  S^omanjen  oom  Stofenfranj.  Edited  by  Max 
Morris,  Berlin,  1903.  484  pp.  (A  very  thorough  study.) 

Valeria;  ober  SSaterlift.  Edited  by  Reinhold  Steig,  Berlin,  1901.  119 
pp.  (The  stage  version  of  "  Ponce  de  Leon.") 

33rentano3  "  Ponce  de  Leon";  etne  ©afularftubie.  By  Gustav  Roethe, 
Berlin,  1901.  100  (quarto)  pp. 

Smmericf)=33rentano :  §eiltgfpreo)ung  ber  ftigmatifterten  3luguftiner= 
9?onne,  21.  ^.  (gmmerid^,  unb  beren  ftmfteS  ©Dangelium  noo)  Element 
Srentano.  By  J.  Rieks,  Leipzig,  1904.  432  pp. 

S)a§  iQauS  ber  S3rentano.  By  W.  Miiller  von  Kbnigswinter.  A  novel 
with  Clemens  Brentano  as  hero,  1873.  374  PP- 

READING    LIST 

1803.  ©obrot,  formless  novel,  855  pp.    (Includes  many  poems.)  \ 

1803.  ^Sonce  be  Seon,  comedy,  278  pp. 

1809.  9tomanjen  nom  9iojenfranj,  epic,  mystic,  Catholic  poem,  418  pp. 

1815.  2>ie  ©riinbung  ^|Srag§,  historic,  romantic  drama,  416  pp. 

1817.  3Me  me^reren  2Be^mulIer,  story,  64  pp. 

1817.  ©efd)id)te  com  braoen  i?afperl  unb  fcfjonen  Slnnerl,  story,  42  pp.     ^ 

1818.  2lu§  ber  Gf)ronifa  etne^  faljrenben  ©c^iilerS,  story,  48  pp. 
1838.  (Socfel,  §infel  unb  ©acfeleia,  story,  256  pp. 

[61] 


OUTLINE  OF  GERMAN  ROMANTICISM 

/ 

LOUIS  CHARLES  ADELAIDE  DE  CHAMISSO  DE 

BONCOURT  (ADELBERT  VON  CHAMISSO) 

Born  January  30,  1781,  at  Schloss  Boncourt,  not  far  from 
St.  Menehould,  in  Champagne.  Came  of  an  old  aristocratic 
French  family  that  was  obliged  to  leave  France  because  of  the 
Revolution  (1789-92).  His  oldest  known  ancestor,  Gerard  de 
Chamissot,  is  mentioned  in  a  document  of  1305.  The  family 
came  to  Germany — (Liittich),  Aachen,  (The  Hague),  Diisseldorf , 
Wiirzburg,  Baireuth  —  finally  to  Berlin.  Quiet  and  obedient  as 
a  boy,  fond  of  reading,  not  very  happy.  Made  a  page  at  the 
Court  of  Queen  Friederike  Luise,  received  instruction  in  French 
at  the  French  gymnasium,  became  (March  31,  1798)  ensign  in 
the  regiment  von  Gotze,  then  lieutenant  (January  24,  1801). 
/^x-Used  the  French  language  for  writing  till  1801.  Family  returned 
to  France,  he  himself  was  there  on  leave  in  1802-1803.  Studied, 
while  yet  undecided,  Voltaire,  Diderot  and  especially  Rousseau. 
Returned  to  Germany,  took  up  the  serious  study  of  German, 
read  Schiller,  Klopstock,  Luther  and  Kant.  Read  Shakespeare 
in  the  translation  of  Eschenburg.  Obliged  to  enter  into  active 
military  service  in  1805,  received  a  furlough  after  the  capitula- 
tion of  Hameln  (cf.  "  Memoire  iiber  die  Ereignisse  bei  der 
Kapitulation  von  Hameln,"  1806,  three  pages),  went  then  to 
France  where  he  stayed  till  the  Peace  of  Tilsit  (July  7-9,  1807). 
Returned  to  Germany,  was  with  Fouque  at  Nennhausen,  with 
Varnhagen  at  Hamburg ;  then  in  Berlin,  where  he  received  his 
honorable  discharge  from  the  army  and  again  thought  of  studying. 
Had  a  love  affair  with  a  widow,  Ceres  Duvernay,  that  came  to 
an  end  in  1809.  Received  a  call  (1809)  to  France  as  a  professor, 
went,  found  the  position  filled ;  returned  to  Germany  and  on 
his  way  spent  some  time  at  Coppet  with  Madame  de  Stael  and 
A.  W.  Schlegel.  Came  then  to  Berlin  and  began  the  serious 
study  of  natural  science.  Made  a  journey  around  the  world 
(July  15,  i8i5~October  31,  1818);  Chamisso  was  the  naturalist 
of  the  party.  His  collections  made  on  the  journey  were  brought 

[62] 


THE  WRITERS  OF  THE  HEIDELBERG  GROUP 

to_Berlin,  he  was  given  the  degree  of  doctor  of  philosophy,  and 
jnade  custodian  of  the  Botanical  Garden  in  Berlin.  Married 
Antome  Piaste  and  became  the  father  of  seven  children.  Visited 
France  and  received  indemnity  for  the  paternal  property  that 
had  been  destroyed.  Joined  the  "  Mittwochsgesellschaft  "  in 
Berlin,  became  coeditor  with  Schwab,  and  cotranslator  with 
Gaudy  of  Beranger.  Health  failed  after  1833,  wife  died  in 
1837.  Began  to  write  while  quite  young.  Early  poems  show 
but  slight  influence  of  Romanticism  ;  they  are  plastic  and  modern, 
not  moodful  and  Mediaeval.  Set  to  music  by  Truhn,  Schumann, 
Silcher,  Franz  and  Grieg.  Wrote  but  little  from  1815  to  1825. 
Full  of  contrasts  :  French  by  birth,  German  by  temperament. 
United  Gallic  clarity  and  Teutonic  humor  in  his  works.  Said 
he  was  always  the  opposite  of  his  immediate  companions  :  a 
Protestant  among  Catholics,  a  Catholic  among  Protestants.  A 
wholesome,  manly  character.  Editor,  translator,  scientist,  soldier, 
an  uncommonly  likable  man.  A  Romanticist  in  his  day,  a  Realist 
in  the  making.  Made  the  tefza  rima  popular  in  Germany.  <Sein 
Sebcn  roanbett  fidj~~atr~mtt  ber  ©efdjloffentjett  etne§ 
€rgetpunfte§,  ber  in  ber  $ugenb  einfe^t,  int  ,,@d)Ie= 
mifjl"  mtt  bottem  SSerfe  au§einanbertritt,  auf  ber  9ftittag§l)of)c 
bc£  SebenS  alte  Xtffonanjcn  auSfchetbet  unb  im  filter  mtt  mtl= 
bcm  SSerfldrung§fd)immer  auStont.  Died  at  Berlin,  August  21, 
1838. 

BIBLIOGRAPHY 


gefammelte  SBerfe.  Edited  by  Max  Koch,  4  volumes,  no 
year  (Cotta),  Stuttgart.  Volume  i  contains  biographical  sketch,  pages 
9-62.  (1883.)  Convenient  place  to  study  Chamisso. 

6f)amtffo§  SBerfe.  Edited  by  Oskar  F.  Walzel,  D.  N.  L.,  Volume  148. 
Biographical  introduction,  pages  i-cxxii.  (1892.)  Contains  poems,  trans- 
lations and  "  Schlemihl." 

Gljamtffoia  SSerfe.  Edited  by  Max  Sydow,  Berlin,  1912.  Two  vol- 
umes, 5  parts.  Introduction  of  155  pages  (Seben  itnb  SBerfe)  and  sep- 
arate introductions.  Most  convenient  place  to  read  Chamisso. 

Adelbert  de  Chamisso  de  Boncourt.  By  Xavier  Brun,  Lyon,  18961 
371  pp.  In  French.  The  most  elaborate  study  of  Chamisso. 

[63] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Sfiamiffo  unb  feine  geit.   By  Karl  Fulda,  Leipzig,  1881.   274  pp. 

Chamisso:  Life;  Poems;  Faust;  Schlemihl.  By  Eugene  Oswald, 
London,  1893.  35  pp.  In  Publications  of  English  Goethe  Society. 

SitterurifdEje  Sljarafterfitlber.  By  A.  W.  Ernst,  Hamburg,  1895. 
Chamisso,  pages  27  to  51. 

2Bte  ©fjamifjo  ein  Seutfc&er  raurbe.  By  Dr.  Hiiser,  Halle,  1847. 
24  (large)  pp. 

2lbelbert  oon  (S&amifjo  al§  SJaturforfdEjer.  By  E.  H.  von  Du  Bois- 
Reymond.  Leipzig,  1889.  69  pp. 

Sag  6ofe  ^prinjip  in  ©oet&eS  §auft  unb  SljamiffoS  @d)lemtf)l.  By  E. 
Losch,  Niirnberg,  1845.  J4  PP-  ^n  "Album  des  literarischen  Vereins 
in  Niirnberg." 

£b,amiffo3  ^Seter  ©d^lemi^l.     By  Julius   Schapler,   Deutsch-Krone, 

1893-   45  PP- 

Sfjamtfjog  j^auft  unb  $eter  ©d^lenti^I.  By  Franz  Kern,  in  "Kleine 
Schriften,"  Volume  i,  pages  92  to  118.  Berlin,  1895. 

2)er  §umor  bei  S^amifjo.    By  Julius  Schapler,  Deutsch-Krone,  1897. 

65  PP- 

(SfyamifjoS  ©ebtd^te.    By  Eduard  Schubotz,  Cassel,  1910.    127  pp. 

gortunati  ©liidfedel  unb  SBun^&iitlein.  ©in  ©piel,  won  2lbelbert 
OOn  S^amiffo.  Edited  with  notes,  introduction,  commentary,  by  E.  F. 
Kossmann,  Stuttgart,  1895.  68  pp. 

$eter  @rf)Iemif)l£>  rtmnberfame  ©efrfjtd^te.  Miinchen,  1908.  An  ex- 
tremely interesting  edition.  Contains  numerous  unique  illustrations,  and 
is  not  expensive. 

READING    LIST 

1806.  2lbel6ert3  j5a&e">  snort  story  (first  work),  6  pp. 
1814.  ^Seter  ©d&lemiljlS  nmnberfame  ©efd)idE)te,  story,  75  pp.  - 
1838.    ©ebid^te.    Chamisso's  poems,  seventh  edition,  complete,  Leipzig, 
1843,  630  pp.    This  edition  gives  the  dates  of  the  individual 
poems.    Some  of  the  best,  and  best  known,  are  ^rauen 
unb  =8eben  (1830);    8e6en§lieber  unb  =33tlber  (1831); 
Soncourt  (1827) ;  ©alag  t)  ©ontej  (1829). 


[64] 


THE  WRITERS  OF  THE  HEIDELBERG  GROUP 

JOSEPH  KARL  BENEDIKT,  FREIHERR  VON 
EICHENDORFF 

Born  March  10,  1788,  at  the  Castle  Lubowitz  near  Ratibor 
in  Upper  Silesia.  Family  one  of  the  oldest  and  noblest  in 
Germany.  Grew  up  under  uncommonly  happy  circumstances. '"' 
Had  private  tutors  till  1801.  Attended  with  his  brother  Wilhelm 
the  Maria  Magdalene  gymnasium  in  Breslau  from  1801  to  1804. 
Attended  the  University  of  Breslau,  1804-05,  the  University  of ^ 
Halle,  1805-06.  Heard  here  Schleiermacher  and  Steffens,  and 
became  acquainted  with  the  literature  of  Tieck^  Wacke'nroder, 
Noyalis.  Visited  during  the  vacation  Claudius  in  Wandsbeck, 
for  whom  he  had  great  admiration.  Spent  the  winter  1806-07 
at  home.  Entered  the  University  of  Heidelberg  in  May,  1807. 
Influenced  by  Arnim  and  Brentano,  and  especially  by  Gorres  k-" 
and  Loeben.  Began  to  write  under  the  pen  name  "  Florens." 
Finished  his  studies  at  Heidelberg  in  1808,  went  then  to  Paris 
to  study  the  collections.  Returned  by  way  of  Heidelberg, 
Niirnberg,  Regensburg,  Wien,  Lubowitz.  Attended  for  a  while 
to  the  estate,  wrote  poems  and  part  of  "  Ahnung  und  Gegen- 
wart "  —  Dorothea  Schlegel  gave  the  novel  this  name.  In 
Berlin  in  1809  he  became  more  closely  acquainted  with  Arnim L-" 
and  Brentano,  met  Adam  Miiller  and  heard  lectures  by  Fichte. 
Went  then  to  Wien  to  prepare  for  the  Austrian  civil  service ;  asso- 
ciated with  Dorothea  and  Friedrich  Schlegel,  Adam  Miiller, 
Gentz  and  Philipp  Veit.  Entered  Liitzow's  famous  regiment  in 
1813  when  Friedrich  Wilhelm  III  made  his  appeal  to  his  people, 
but  never  saw  actual  service.  Returned  to  Lubowitz,  married 
Luise  Viktoria  Larisch,  to  whom  he  had  been  engaged  for 
five  years,  and  moved  to  Berlin.  Entered  the  army  again, 
but  arrived  at  Waterloo  when  the  fighting  was  over  and 
entered  Paris  with  the  victorious  troops.  Returned  to  Ger- 
many and  became  referendary  at  Breslau  in  1816.  Associated 
with  Friedrich  von  Raumer  and  Karl  von  Holtei.  His  father 
died  in  1818.  The  family  lost  their  Silesian  property.  In  1819 

[65] 


OUTLINE  OF  GERMAN  ROMANTICISM 

he  passed  with  honor  the  state  examination  in  Berlin,  became 
(1819)  assistant  to  the  Minister  of  Education,  Catholic  Commis- 
sioner of  Education  at  Danzig  in  1820,  Government  Councillor 
in  1821,  member  of  the  East  Prussian  government  in  Konigs- 
berg  in  1824.  In  1831  he  was  appointed  Speaker  of  the 
Ministry  of  Education  in  Berlin ;  associated  with  Savigny, 
Raumer,  Chamisso,  Felix  Mendelssohn.  Received  his  honorable 
dismissal  in  1844,  for  religious  reasons;  lived  then  in  Wien, 
Kothen,  Dresden,  Berlin,  Neisse.  ,Qne  of- the~most.  likable  char- 1^" 
acters  in  German  literature.  Valuable  primarily  as  a  lyric  writer. 
Songs  have  been  set  to  music  by  Schumann,  Franz,  Mendels- 
sohn,  Gliick,  Jensen,  Curschmann,  Bruch,  L.  Hess,  Reinthaler, 
Draseke,  Herzogenberg,  Kampf  and  Brahms.  Though  his 
message  was  limited,  it  was  sincere  and  inspired,  so  that  he  has 
/had  an  enormous  influence  on  lyric  poetry,  an  influence  that 
extends  down  to  the  present.  He  sang  of  longing,  the  forest,^" 
mills,  brooks,  the  fields,  neglected  gardens  and  lonely  castles, 
and  the  forest  horn  is  one  of  his  favorite  accompaniments. 
r  He  represents  the  subdued,  pensive,  reflective,  melancholy  side 
of  nature ;  his  attitude  toward  nature  was  that  of  a  healthy 

t~  Romanticist ;  he  did  not  philosophize  about  it,  he  loved  it 
and  glorified  it  in  his  poems.  He  drew  much  inspiration  for 
his  songs  from  the  situation  at  Lubowitz.  As  a  dramatist  he 
is  not  to  be  taken  seriously.  His  dramas  are  either  literary 
dramas,  a  dubious  species,  or  historical  dramas  that  grew 
out  of  his  antiquarian  interests ;  no  one  thinks  of  them  in 
connection  with  the  stage.  His  long  novel,  "  Ahnung  und 
\Gegenwart,"  is  full  of  Romantic  unrealities.  It  pictures  the 
pious  adventures  of  a  soulful  university  graduate,  who,  after 
happily  withstanding  a  number  of  "  temptations,"  ends  in  a 

V    monastery.    The  novel  shows  the  influence  of  that  long  series 

of  like  tendency, "  Wilhelm  Meister,"  "  Ofterdingen,"  "  Florentin," 

"  Titan,"  "  Sternbald."    It  contains  some  of  his  best  lyrics. 

y'Eichendorff  not  only  acted  the  part  of  a  Catholic,  he  was  a 

Catholic.    And  yet  he  held  government  positions  in  Protestant 

[66] 


THE  WRITERS  OF  THE  HEIDELBERG  GROUP 

Prussia.    His  "  Taugenichts  "  and  some  of  his  lyrics  will  last  l^' 
as  long  as  anything  else  written  by  any  Romanticist.    He  died 
at  St.  Rochus,  near  Neisse,  November  26,  1857. 


BIBLIOGRAPHY 


©cimtlidje  9Ber!e  be§  {Jreifjerrn  SofepO  »on  ©idjenborff. 
frittfc^e  2lu3gabe,  in  SBer&mbung  tnit  ^Ijillip  Sluguft  33etfer.  Edited  by 
Wilh^lm_JCos£h  and  August  Sauer,  Regensburg,  no  year.  There  are  to 
be,  apparently,  13  volumes  in  this  edition,  4  of  which  have  already 
(1913)  appeared:  Volumes  10-13.  This  will  be  the  monumental  edition, 
containing  all  the  devices  known  to  modern  bookmaking. 

Sofepfj  gretfyerrn  o.  @id)enborff3  SBerfe.  Edited  by  Rudolf  von  Gott- 
schall,  4  volumes  in  2,  Leipzig  (Hesse),  no  year  (recent).  A  superb 
edition  for  popular  purposes.  Biographical  introduction  in  Volume  i, 
pages  i  to  38.  Contains  practically  all  of  Eichendorff's  pure  literature. 
The  best  cheap  edition. 

Sojepf)  gretfjerrn  oon  (SicfjenborffS  famtltcfje  poetifdje  SEBerfe.  Four 
volumes,  Leipzig,  1883.  Contains  biographical  sketch  in  Volume  4, 
pages  421  to  607.  Otherwise  uncritical. 

@i<f>enborff§  SBerfe.  Edited  by  Ludwig  Krahe,  4  parts  in  2  volumes, 
Berlin  (Bong),  no  year  (recent).  Contains  biographical  introduction, 
pages  i  to  xlvi,  and  separate  introductions  to  the  various  works. 

©ebirf)te  oon  SofepI)  gmfjenrn  oon  ©tcfjenborff.  Edited  with  introduc- 
tion and  notes  by  O.  Hellinghaus,  Munster,  1888.  380  pp. 

2lu3  bem  Se&en  eine3  £augemtf)t3.  With  39  heliogravures  after  the 
originals  of  Phillip  Grot  Johann  and  Edmund  Kanoldt,  Leipzig,  no 
year.  87  (quarto)  pp. 

Set  beittfcfje  SRoman  be§  adjtjefynten  !yal)rl)iwbert§  in  feinem  3Sed)tilts 
nt^  jum  Gfyrtftentume.  Paderborn,  1866.  458  pp.  One  of  Eichendorff's 
various  critical  works. 

2>ofep{j  won  ©io^enborff.  <Sein  Se&en  unb  feine  Sid^tungen.  By  Hein- 
rich  Keiter,  Koln,  1887.  112  pp. 

2)er  junge  ©io^enbotff.   By  H.  A.  KrUger,  Leipzig,  1904.    172  pp. 

llnterfurfiungen  ju  ©id&enborp  3loman  2l^nung  unb  ©egenroart.  By 
Konrad  Weichberger,  Jena.  1901.  44  pp. 

llngebrudte  2)icf)tungen  ©io^enborffg.  By  Friedrich  Castelle,  Mun- 
stef,  1906.  137  (small)  pp.  Bibliography,  pp.  134-137.  Contains  "Her- 
mann und  Thusnelda  "  and  "  Wider  Willen." 

[67] 


OUTLINE  OF  GERMAN  ROMANTICISM 


.  B.  (SidjenborffS  bid&terifcljer.  ^ruhjett.   (1810-1813.)   By  Ewald 
Reinhard,  Miinster.    62  pp.    Bibliography,  pp.  61-62. 

(SidEjenborffS  ftiftorifcfye  Xrauerfpiele.     By  Julius  Erdmann,  Halle, 
1908.    35  pp.    (Teildruck.)  / 

The  Influence  of  the  German  Volkslied  on  Eichendorff'  s  Lyric.    By 
A        I  Jacob  Harold  Heinzelmann,  Leipzig,  1910.    92  pp.    Bibliography,  pp. 
90-92. 

READING    LIST 

1811.  2lf)nung  unb  ©egennwrt,  novel,  250  pp.    (Pagination,  except  for 

dramas,  after  Hesse.) 
1817.  3)a§  Sftarmorbilb,  story,  33  pp. 
V      1824.    $ctC£  ben  ^S^Uiftern,  dramatic  fairy-tale  in  5  adventures  (literary- 

historical  comedy),  78  pp. 

1826.  2lu3  bem  Seben  eine§  SaugenicfjtS,  story,  74  pp.    (His  most  pop- 

ular work.) 

1827.  3Merbetf)§  ©liicf  unb  ©nbe,   literary  comedy,  55  pp. 

1828.  ©jelirt  BOH  9lomano,  tragedy  in  5  acts,  200  pp. 

1830.  2>er  le^te  §elb  »on  SJZartenburg,  tragedy  in  5  acts,  335  pp. 

1832.  3Stel  Stirmen  um  9lirf)ts>,  story,  55  pp. 

1833.  2)ie  Ureter,  comedy  in  3  acts,  80  pp. 

1834.  2)tdjter  unb  ifyre  ©efellen,  story,  186  pp. 

1835.  (Sine  SNeerfafyrt,  story,  50  pp. 
1837.  2)a3  ©d^lofs  3)iiranbe,  story,  32  pp. 

I     1847.   ilber  bie  ettyifdje  unb  reltgiofe  33ebeutung  ber  neueren  romanti= 

fc^en  ^5oefie  in  £>eutfcf)lanb,  critical  work,  296  pp. 

1857.  ©ebtcfyte.  Eichendorff's  first  poems  appeared  in  Friedrich  Ast's 
Zeitschrift  filr  Wissenschaft  und  A'unsi,  1808.  Toward  the 
latter  part  of  his  life,  when  he  was  translating  Calderon's 
"  Christian  Dramas  "  and  writing  historical  and  critical  works, 
his  lyric  vein  partly  dried  up.  But  during  the  earlier  part  of 
his  career,  say  up  to  1837,  his  lyrics  appeared  frequently  and 
everywhere.  Some  of  his  best  known  ones  are  scattered 
throughout  his  novels  and  novelettes.  A  very  good  collection 
is  in  "  Die  Biicher  der  Rose  "  series,  Leipzig,  no  year.  The 
book  is  edited  by  Wilhelm  von  Scholz,  with  vignettes  and 
42  pictures  by  Moritz  von  Schwind. 


[68] 


THE  WRITERS  OF  THE  HEIDELBERG  GROUP 

JOHANN  LUDWIG  UHLAND 

Born  April  26,  1787,  at  Tubingen.  Came  of  an  old  family 
that  had  long  been  connected  in  various  ways  with  the  univer- 
sity of  his  home  town.  Inherited  a  sense  of  justice  and  inflexi- 
bility from  his  father,  fancifulness  and  soulfulness  from  his 
mother.  A  brilliant  boy,  well  educated,  he  entered  the  Univer- 
sity of  Tiibjogen  in  1801  to  study  law,  and  studied  there,  until 
1808,  law  and  languages.  Wrote  poetry  as  early  as  1800,  and 
read  Saxo  Grammaticus  and  the  German  "  Heldenbuch  "  while 
still  young.  Passed  his  doctor's  examination  April  5,  1810; 
went  then  to  Paris  to  study  the  code  Napoleon,  stayed  less  than 
a  year  and  studied  in  addition  to  the  code  the  manuscripts  of 
-the  QJd^FYench  epics.  Left  Paris  and  returned  to  Tubingen, 
February  14,  1811,  to  take  up  the  practice  of  law.  Became 
acquainted  with  Gustav  Schwab.  Lived  in  Stuttgart  from  1811 
to  1828,  first  as  government  secretary  then  as  a  lawyer.  The 
year  1813  saw  him  in  great  trouble.  On  May  29,  1820,  he  was 
happily  married  to  Emilie  Fischer.  He  returned  to  Tubingen  in 
1830,  where,  excepting  for  various  journeys,  he  lived  .the  rest  of 
his  life.  Appointed  professor  of  German  at  Tubingen  in  1829. 
His  parents  died  in  1831.  Resigned  his  professorship  in  1833 
for  political  reasons.  A  member  of  the  Parliament  of  Wurttem- 
berg  from  1832  to  1838.,  Pursued  Germanistic^  studies  from 
thgnon.  Elected  a  delegate  to  the  National  Convention  at 
Frankfurt  am  Main  in  1848  ;  after  the  failure  of  this  under- 
taking retired  forever  from  public  life.  One  of  the  noblest  men 
Germany  ever  jproduced ;  though  awkward  in  appearance,  his 
soul  was  exalted,  his  mind  trained  and  imaginative,  his  heart 
pure  and  strong.  Editor,  lawyer,  translator,  scholar,  a  poet  of 
nature,  the  Classicist  of  Romanticism,  a  politician  of  the  old 
school.  Not  strong  as  a  dramatist,  the  author  of  no  epics,  his 
lyrics,  ballads  and  romances  enable  him  to  be  ranked  with 
GoetRe.  His  poems  have  been  set  to  music  by  Rubinstein, 
Spohr,  Gotz,  Hauptmann,  R.  Strauss,  Schubert,  Kreutzer, 

[69] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Schumann,  Raff,  Bruch,  Mendelssohn,  Esser,  Weingartner, 
Loewe  and  Brahms.  He  wrote  but  few  love  poems  ;  poetized 
nature,  friendship,  and,  in  an  indirect  way,  events  of  the  day. 
The  intellectual  father  of  Swabian  democracy,  he  refused  orders 
and  distinctions  of  various  sorts.  His  investigations  along  the 
line  of  folk  songs,  the  Old  French  Epics,  and  Walther  von_der 
Vogelweide  have  not  yet  been  superseded.  Heine_gave  him  a 
1  '  <'hJ£h~Rl§c-?  among  the  Swabian  poets,  as  well  as  among  poets  in 
general  ;  Goethe  could  never  become  enthusiastic  over  him, 
except  with  regard  to  his  ballads  ;  Lenau  praised  him  ;  all  who 
knew  him  respected  him.  Caught  cold  while  attending  the 
funeral  of  Justinus  Kerner,  February,  1862,  never  recovered, 
and  died  at  Tubingen,  November  13,  1862. 

BIBLIOGRAPHY 


Subnrig  UfylanbS  Seben  ;  au§  beffen  -ftadjlaf}  unb  au3  etgener  ©rtnne= 
rung.  By  his  widow,  Stuttgart,  1874.  479  pp. 

UljlanbS  Seben:  ein  ©ebenfbud)  fur  bag  beutfdje  3Solf.  By  Johannes 
Gihr,  Stuttgart,  1864.  381  pp. 

Subnrig  Ufjlanb.  ©ein  Seben  unb  feine  Sidjtungen.  By  Friedrich 
Notter,  Stuttgart,  1863.  452  pp. 

Subnrig  lU)lanb,  feine  greunbe  unb  geitgenoffen.  By  Karl  Mayer, 
Stuttgart,  1867.  558  pp.  Mayer  was  also  a  poet;  the  book  contains 
many  letters  and  details  about  Uhland's  circle. 

Seitrcige  JU  tl^lanb.    By  Ernst  Brandes,  Marienburg,  1892.   36  pp. 

Subrotg  Uf)lanb.  ©ine  <Stubie  ju  feiner  <Sti!uIarfeter.  By  Hermann 
Fischer,  Stuttgart,  1887.  199  pp. 

Subnrig  Uljlanb.    Sine  @It3je.    By  Gustav  Liebert,  Hamburg,  1857. 

85  PP- 

3u  Subroig  U^Ianb^  ©ebad)tntg.  By  W.  L.  Holland,  Leipzig,  1886. 
102  pp. 

UI)lanb§  gefammelte  2Ber!e.  Edited  with  biographical  introduction 
by  Hermann  Fischer,  Stuttgart,  no  year  (1892),  Cotta,  6  volumes. 

ttfjlanbg  SCBerfe.  Edited  by  Ludwig  Frankel  (Bibliographisches  In- 
stitut),  Leipzig  and  Wien,  no  year  (1893). 

Subroig  U^Ianb^  SBerfe.  Edited  by  H.  Bromse,  Berlin,  1913.  Three 
parts  in  i  volume.  The  excellent  edition  of  Bong  &  Co. 

[70] 


THE  WRITERS  OF  THE  HEIDELBERG  GROUP 


a!3  Sramatifer.  By  Adelbert  von  Keller,  Stuttgart,  1877. 
491  pp.  An  invaluable  book  for  the  study  of  Uhland  as  a  dramatist 
Contains,  aside  from  Uhland's  two  completed  dramas,  the  outlines,  in 
chronological  order,  of  26  dramatic  fragments.  "  Benno,"  a  tragedy,  is 
printed  separately  in  Eufhorion,  Band  VI,  Heft  i,  1899. 

Subroig  llljlanb  al3  Sidjter  unb  patriot.  By  Hermann  Dederich, 
Gotha,  1886.  163  pp. 

©ebidjte  Don  Subroig  llfjlanb.  Edited  by  Erich  Schmidt  and  Julius 
Hartmann,  Stuttgart,  1898.  Two  volumes  ;  first  volume  contains  poems, 
second  notes.  The  best  place  to  study  Uhland's  poems. 

Subroig  Ufylanb.  35ie  (Sntroicfelung  be§  SnriferS  unb  bie  ©eneft3  be§ 
©ebid)te3.  By  Hans  Haag,  Stuttgart,  1907.  n8pp. 

Ufjlanb.  Sidjtftrahlen  au3  feinen  SBerfen,  mit  einer  biograpljifdjen 
Gfyarafterifti!.  By  Adolph  Kohut,  Dresden,  1887.  93  pp.  (A  good  an- 
thology.) 

U&lanbS  norbifdje  ©tubien.  By  Wilhelm  Moestur,  Berlin,  1902.  64  pp. 

Ub,lanb  a!3  ^BolttUer.    By  Walther  Reinohl,  Tiibingen,  1911.   268  pp. 

Uf)Ianb§  ^5oettf.    By  Gotthold  Schmidt,  Frankfurt,  1906.   83  pp. 

Ufilanb  unb  Stiicfert.  ©in  fritifdjer  aSerfua^.  By  Gustav  Pfizer,  Stutt- 
gart, 1837.  70  pp. 

U6er  UfilanbS  ©rn(t  t>on  ©u^roaben.  By  Heinrich  Weisman,  Frank- 
furt am  Main,  1863.  105  pp. 

Quellenftubien  ju  tl^lanbg  Sallaben.  By  Paul  Eichholtz,  Berlin,  1879. 
1  20  pp. 

UhlanbS  Sagbud^  (1810-1820).  Edited  by  J.  Hartmann,  Stuttgart, 
1898.  338  pp. 

READING    LIST 

1818.  Srnft,  fQetjog  oon  ©o^roaben,  drama,  157  pp. 

1819.  Subroig  ber  33aier,  drama,  121  pp. 

1822.  3Baltf)er  »on  ber  Sogelroeibe,  ein  attbeutf^er  Sifter,  scholarly 
and  poetic  treatise,  157  pp. 

1862.  ©ebirf)te,  dating  back  to  1800,  about  300  pages.  Poems  went 
through  many  editions  ;  they  are  frequently  printed  in  one 
larger  volume  with  the  two  dramas.  There  are  numerous 
school  editions.  They  should  be  read  in  their  entirety. 


[71  ] 


SECTION  VIII 

THE  SIDE  LIGHTS 

Strictly  speaking,  literary  "  schools "  have  not  been 
numerous  in  Germany.  There  have  not  been  many  in- 
stances where  a  number  of  poets  —  more  than  two  — 
holding  a  common  doctrine,  accepting  the  same  teachings, 
exhibiting  in  practice  the  same  general  methods  and  intel- 
lectual bent,  have  banded  together  and  made  propaganda 
for  a  common  cause.  The  very  fact  that  a  man  is  a  poet 
is  proof  positive  that  he  is  different  from  other  men, 
including  other  poets,  and  there  never  were  even  two 
poets  exactly  or  even  nearly  alike.  To  have  a  successful 
school,  there  must  be  good  teamwork  ;  and  to  have  this,  a 
long  series  of  similarities  on  the  part  of  the  participants 
is  necessary.  We  can  speak  of  the  First  Silesian  School 
(1625-75),  the  Second  Silesian  School  (1650-1700),  the 
®otttnger  feain  (1767-1800),  Storm  and  Stress  (1767- 
87),  the  E£liin;j_enaJR;omantic  SchooL(  1798-1801),  the 
Heidelberg  Romantic  School  (1806-08)  and  Young  Ger- 
many (1830-48)  with  more  or  less  propriety,  and  with 
that  the  list  of  "  schools  "  is  about  complete.  Goethe  and 
Schiller  established  a  Classical  School  (1794-1805)  at 
Weimar  only  in  the  sense  that  they  wrote  poetry  of  a  high 
order,  which  found  many  imitators  and  many  more  readers 
and  admirers.  But  it  is  with  a  school  as  with  a  triangle, 
or  with  jealousy :  it  requires  three  parts  to  complete  it. 

[72] 


THE  SIDE  LIGHTS 

And  then  a  school  is  unlike  a  triangle,  or  jealousy,  in  that 
more  than  three  parts  will  tend  to  make  it  more  nearly 
perfect,  more  enduring  and  effective. 

In  the  case  of  the  twenty-eight  poets,  grouped  under  this 
rubric,  we  have  to  do  with  a  number  of  men  each  one  of 
whom  went  his  own  way  and  accomplished  something  that 
makes  him  unforgetable.  They  lived  irvthe  age  of  Roman- 
ticism and  were  not  merely  influenced  by  it,  they  contributed 
very  largely  to  it.  Indeed  some  of  the  very  best  works  of 
the  period  were  written  by  these  men,  who,  in  default  of  a 
better  term,  are  called  "  side  lights."  But  to  classify  them, 
or  arrange  them  in  schools,  is  neither  possible  nor  desirable. 
In  a  number  of  instances,  they  can  be  grouped  according 
to  birth  or  tendency.  Hauff,  Morike,  Schwab  and  Kerner 
are  the  Swabians.  Arndt,  Schenkendorf  and  Korner  arc 
the  poets  of  the  War  of  Liberation.  Nestroy  and  Raimund 
worked  and  played  in  Vienna.  Grabbe  was  a  broken 
dramatist  of  some  power,  Kleist  was  a  broken  dramatist 
of  tremendous  power.  Freiligrath,  Fallersleben,  Herwegh, 
Grim  and  Riickert  were  political  poets.  We  associate 
Heine  with  Platen  and  Immermann  because  of  their  feud. 
Schulze  and  Geibel  wrote  gentle  poetry,  and  Halm  wrote 
ideal  dramas.  Stifter  was  born  in  Bohemia,  and  Lenau  in 
Hungary,  and  both  poetized  nature ;  Hoffmann  is  unclas- 
sifiable  for  obvious  reasons  ;  Alexis  is  a  transferred  and 
Teutonized  Walter  Scott ;  Wilhelm  M  tiller  is  allowed,  by 
reason  of  his  very  lyric  genius,  to  stand  more  or  less  alone  ; 
Annette  von  Droste  is  poles  removed  from  any  of  the 
others ;  Fouque  was  a  perfect  gentleman ;  and  the  vain 
Waiblinger  stands  last  in  the  list  alphabetically  and  from 
the  standpoint  of  genius. 

[73] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Such  grouping,  however,  is  a  matter  of  orientation,  of 
convenience.  These  writers  cannot  be  classified.  They 
came  from  all  parts  of  German-speaking  Europe.  It  would 
be  difficult  to  find  another  group  of  poets  so  unlike.  Think 
of  the  contrast  between  Morike  and  E.  T.  A.  Hoffmann, 
Hauff  and  Grabbe,  Schulze  and  Grim,  Kerner  and  Platen, 
Herwegh  and  Arndt,  to  say  nothing  of  Korner !  And  as 
to  age,  Korner  died  when  he  was  twenty-two,  Hauff  when 
he  was  twenty:five,  Waiblinger  when  he  was  twenty-six, 
Arndt  when  he  was  ninety-one.  Arndt  was  born  in 
only  two  years  later  than  A.  W.  Schlegel  and  W.  v 
boldt,  the  oldest  of  the  old  Romanticists.  Ilerwegh  was 
born  in  1817,  two  years  after  the  birth  of  Robert  Franz, 
four  after  the  death  of  Korner  and  six  after  the  death  of 
Kleist.  Kleist  died  in  1 8 1 1 ,  Geibel  was  still  living  in 
1884.  And  as  to  what  they  did  while  they  lived,  there  is 
no  space  for  a  list  of  even  the  superficial  things  that  differ- 
ence any  one  of  them  from  the  others.  They  constitute  a 
class  by  themselves  for  the  very  reason  that  each  one  is 
sui  generis.  They  are  arranged  in  this  section  in  alpha- 
betical order,  the  most  attention  being  given  to  Heine  first 
and  Kleist  second. 


Born  June  29,  1798,  at  Breslau.  Father  was  director  of  the 
Chancellery  of  War  and  Crown-Lands.  The  family  emigrated 
from  France  and  was  originally  called  Hareng.  Attended  the 
Friedrich  Werdersches  gymnasium  in  Berlin,  took  part  in  the 
campaign  of  1815,  studied  law  at  the  universities  of  Berlin  and 
Breslau  and  became  a  lawyer  in  Berlin.  Edited  the  Berliner 

[74] 


THE  SIDE  LIGHTS 

Konversationsblatt  with  Friedrich  Forster  from  1827  to  1830, 
and  then  alone  until  1835.  Halle  conferred  on  him  the  degree 
of  doctor  of  philosophy  in  1828.  After  1835  he  unsuccessfully 
went  into  various  sorts  of  speculative  business.  Published  with 
Hitzig,  from  1842  to  1862,  "  Der  neue  Pitaval,"  a  collection  of 
criminal  stories.  Became  involved  in  the  Italian  revolution  of 
1848.  Left  Berlin  in  1852,  retired  permanently  to  Arnstadt  in 
Thiiringen,  was  paralyzed  in  1856  and  never  recovered.  A  rest- 
less individual,  with  no  great  store  of  thought  but  with  great 
ability  to  picture  the  small  in  historical  fashion.  His  works  on 
Brandenburg  influenced  Fontane.  Wrote  some  poems  and  short 
stories,  but  known  now  only  as  a  novelist.  The  "  Walter  Scott 
of  the  Mark."  His  novels  begin  well  and  then  decline  in  merit; 
he  allows  his  characters  of  the  fifteenth  and  sixteenth  centuries 
to  speak  as  if  they  lived  in  the  nineteenth ;  his  works  are  archi- 
tecturally weak ;  he  tries  to  make  his  characters  too  clever. 
His  works  previous  to  1830  are  thoroughly  Romantic;  from 
then  on  he  wavered  between  the  characteristics  of  Young  Ger- 
many and  modern  Realism.  Died  at  Arnstadt,  December  16, 
1871. 

BIBLIOGRAPHY 

3BiUtbaIb  2Her.i3'3  Daterlanbifcf)e  Montane.  Berlin,  no  year.  Eight 
volumes. 

SReue  SBilber  au§  bem  getfttgen  Seben  unferer  $dt.  By  Julian  Schmidt, 
Leipzig,  1873.  Alexis,  pages  76  to  148. 

w@djlof!  Sloalon",  ber  erfte  Ijiftorifdje  SRoman  con  SBiHibalb  2Ueri§. 
By  Richard  Fischer,  Leipzig,  1911.  103  pp. 

READING    LIST 

1832.  (£abani§,  novel,  712  pp. 

1842.  35er  Stolanb  oon  33erlin,  novel,  520  pp. 

1846.  2)te  fjbofen  be§  £errn  oon  Sreboro,  novel,  327  pp. 

1852.  9tuf>e  ift  bie  erfte  Siirgerpflidjt,  novel,  782  pp.   Title  taken  from 

a  remark  made  by  the  Minister,  F.  W.  Schulenburg-Kehnert, 

on  the  Monday  after  the  battle  of  Jena. 

[75] 


OUTLINE  OF  GERMAN  ROMANTICISM 

ERNST  MORITZ  ARNDT 

Born  December  26,  1769,  at  Schoritz  on  the  island  of  Riigen, 
the  son  of  a  tenant  and  former  serf.  Learned  to  read  from  the 
Pentateuch.  Entered  the  gymnasium  of  Stralsund  in  1787, 
studied  there  two  years,  took  then  private  lessons  and  entered 
(1791)  the  University  of  Greifswald  to  study  theology.  Went 
to  Jena  in  1793  and  finished  his  course  there.  Returned  home 
in  1794,  became  a  private  tutor,  from  1796  on  in  the  home 
of  Kosegarten.  Made  (1798-99)  a  foot-tour  through  Austria, 
Hungary,  Italy,  France,  and  Belgium.  Received  his  master's 
degree  at  Gijj^fswald  in  1800,  became  privatdozent  in  history, 
an  adjunkt  in  the  faculty  of  philosophy  in  1801,  professor 
extraordinary  of  history  in  1806.  Soon  obliged  to  give  up  his 
position,  because  of  his  book  "  Geist  der  Zeit,"  and  flee  from  the 
attacks  of  the  French.  Lived  in  Sweden  from  1806  to  1809, 
returned  then  to  Germany  'under  an  assumed  name,  became 
again  professor  of  history  at  Greifswald.  Resigned  in  1811, 
went  to  St.  Petersburg  and  worked  for  the  good  of  Germany. 
Published,  after  the  War  of  Liberation,  a  newspaper  at  Koln ; 
made  professor  of  modern  history  at  Bonn  in  1818.  Was  sus- 
pected of  demagogic  tendencies  in  1820,  forced  to  resign  in 
1826.  Lived  in  Bonn  until  1840  as  a  private  citizen,  in  that  year 
restored  to  his  professorship  by  Friedrich  Wilhelm  IV.  Elected  a 
member  of  the  National  Assembly  in  1848,  belonged  to  the 
Hereditary  Imperial  Party.  Resigned  in  1849.  Retired  from 
his  professorship  in  1854.  Married  Nanna  Schleiermacher  in 
1 8 1 8.  A  staunch  German  patriot,  an  implacable  foe  of  Napoleon. 
Lyric  writer,  journalist,  teacher,  historian,  religious  patriot.  Not  a 
great  master  of  form,  but  of  wonderful  skill  in  inspiring  interest 
in  the  cause  of  a  united  Germany.  Not  a  Romanticist  in  the 
ordinary  sense.  His  three  poems,  $)er  ©ott,  bcr  (Jifen  luacljfcn 
liefj;  28a3  tft  be§  2)cutfd)cn  SSaterlanb?  and  28a§  Olafen  bte 
-Tvompeten?  as  well  known  as  any  other  poems  of  the  period. 
Died  at  Bonn,  January  29,  1860. 

[76] 


THE  SIDE  LIGHTS 

BIBLIOGRAPHY 

©rinnerungen  <xu3  bem  aufjeren  Seben.  Autobiographical  material. 
Appeared  at  Leipzig  in  1840.  381  pages.  Edited  by  Hugo  Rb'sch, 
Leipzig,  1892.  Contains  valuable  esoteric  details. 

(Srnft  Storifc  2lrnbt3  £eben,  £f)aten  unb  2ftetnungen,  nebft  einigen 
feiner  geiftltdjen  unb  oaterlcinbifdjen  Sieber.  By  Wilhelm  Baur,  Ham- 
burg, 1882.  248  pp. 

3lrnbt.    By  Paul  Meinhold,  Berlin,  1910.    253  pp. 

©rnft  aflorifc  Slrnbt.  ©ein  Seben  unb  2lrbetten  fiir  SeutfdE)lanb3  grei* 
f)ett,  @&re,  ©in&eit  unb  ®r6fce.  By  Rudolf  Thiele,  Gutersloh,  1894. 
210  pp. 

Set  Stdjter  3lmbt.  By  Georg  Lange,  Berlin,  1910.  62  pp.  (Teildruck.) 
Dissertation,  valuable  for  Arndt's  predecessors,  i.e.  for  those  by  whom 
he  was  influenced. 

READING   LIST 

1818.  ©etft  ber  Qtit,  prose  sketches  on  the  political  situation  in  Ger- 
many. Vol.  i  in  1807,  Vol.  2  in  1809,  Vol.  3  in  1813  —  all 
directed  against  Napoleon;  Vol.  4  in  1818,  against  Germany's 
own  political  and  national  lethargy.  Next  to  Fichte's  "  Reden," 
the  most  patriotic  writings  inspired  by  the  deeds  of  the  time. 

2053  PP- 

1860.  ©ebtdE)te,  dating  back  to  1793,  when  his  first  poems  appeared  in 
the  Gottinger  Alusenalmanach.  About  500  pages.  Mostly 
patriotic  and  war  songs,  some  hymns  (^cf)  roeifj,  moran  id) 
glaube ;  2)ic^,  ©eift  ber  SBafjrfyeit ;  3<ty  glaub'  an  bid))  and  some 
occasional  poems. 


ANNA  ELISABETH   FRANZISKA  ADOLPHINE  LUISE 
MARIA,  FREIIN  VON  DROSTE-HULSHOFF 

Born  January  10,  1797,  at  Hiilshoff  near  Miinster  in  West- 
phalia. Her  father  was  gentle,  cultured,  soulful,  a  student  of 
nature,  a  man  of  broad  reading.  Her  mother  was  clever  and 
orderly.  Always  weak,  of  strong  imagination,  an  enormous 
reader.  Participated  in  the  lessons  given  her  brothers  by  tutors 
and  acquired  in  this  way  good  mental  training.  Lived  at  various 

[77] 


OUTLINE  OF  GERMAN  ROMANTICISM 

times,  and  in  this  order,  at  Miinster,  Driburg,  Koln,  Bonn, 
Riischhaus  near  Miinster,  Eppishausen  in  the  canton  of  Thur- 
gau,  Meersburg.  Became  acquainted  with  A.  W.  Schlegel,  the 
poet  Wilhelm  Smets,  Simrock,  Joseph  von  Lassberg,  Levin 
Schiicking,  Katharina  Schiicking,  Uhland,  Schwab,  the  Boisse- 
rees,  Fr.  Schlegel,  Johanna  Schopenhauer  and  other  prominent 
figures  of  her  time.  Made  contributions  to  Grimm's  &inber= 
unb  £wu§marc£)en.  Brought  up  in  rigidly  Catholic  surroundings. 
The  poetess  of  Westphalia,  the  greatest  poetess  of— Genuam/^ 
Heine,  Lenau,  Laube  and  Gutzkow  did  not  understand  her. 
Greatly  admired  by  Detlev  von  Liliencron.  Betty  Paoli  said  of 
her:  5luf  bent  Qkbiet  ber  ^oefte  in  ntetrifd)er  §orm  ttieifj  id) 
in  ben  mir  gugangltcfyen  Stteraturen  feme  §rau,  bie  ber  $>rofte 
an  bie  <Seite  ju  ftetten  ttwre.  Her  songs  are  not  singable,  they 
are  too  strong,  too  thoughtful.  She  never  borrowed  from  other 
\  writers,  though  Scott  and  Byron  influenced  her,  and  she  never 
tried  to  be  really  musical.  The  most  nearly  unique  character  in 
all  German  Romanticism.  Levin  Schiicking  said  of  her:  @ie 
ttmr,  otte§  in  altem  genommen,  bie  SSerforperiing  ebetfter  unb 
reinfter  ^rtfuemmtiir.  She  died  at  Meersburg,  May  24,  1848. 

BIBLIOGRAPHY 

©efammelte  ©djriften  uonSlnnette  greiin  con  3)rofte=£iU3f)off.  Edited 
by  Levin  Schiicking,  Stuttgart,  1879,  3  volumes.  The  best  place  to  read 
her  writings.  A  second,  enlarged  edition  appeared  in  1898.  Introduc- 
tion, Volume  i,  pages  i  to  52.  Selected  editions  have  also  been  published 
by  Hesse  and  Reclam. 

Annette  t>on  2>rofte=§iil3f)off;  tfyre  bidjterifcfje  ©ntnricfehmg  unb  ifyr 
3Serf)dltm3  ?ur  englifd)en  Siteratur.  By  Bertha  Badt,  Leipzig,  1909. 
96  pp. 

2)ie  religiofe  Snril  ber  Stnnette  oon  S)rofte=^iilg^off.  By  Arthur  Bank- 
witz,  Berlin,  1899.  9^  PP- 

2)ie  93aaabented)nif  2lnnetteng  von  2)r.ofte=£iU3f)off.  By  Lothar 
Boehme,  in  Euphorion,  Volume  14,  1907,  pages  724  to  763. 

Slnnette  »on  2)rofte=§iil3Ijoff.  By  Hermann  Graef,  Leipzig,  1906. 
45  PP- 

[73] 


THE  SIDE  LIGHTS 

Slnnette  »on  2)rofte=<QiiI§ljoff,  25eutfd)lanb§  2)id)terin.  By  Leopold 
Jacoby,  Hamburg,  1890.  74  pp. 

£eutfd)e  S&araftere.    By  R.  M.  Meyer,  pages  138  to  162. 

Sie  religiofe  Snrif  beg  beutfcfyen  ^atljolijiSmuS  in  ber  erften  <0alfte 
be§  19.  3af)r.f)unbert3,  unter  befonberer  Seriicfftdjtigung  2lnnetten3  con 
Sroftc.  By  August  Weldemann,  Leipzig,  1911.  135  pp. 

2lnnetten§  uon  £>r.ofte=§iU3f)op  bramatifdje  Xcitigfeit.  By  Martin 
Kniepen,  Miinster  in  Westfalen,  1910.  104  pp. 

2lnnette  con  2)r.ofte=<QiU3&off  aI3  roeftphalifdje  2)irf>terin.  By  Wilhelm 
von  Scholz,  Miinchen,  1897.  47  pp. 

READING    LIST 

3)ic  3ui>enbud)e  :  ein  ©ittengemalbe  au§  bent  gebirgigten 


pfyalen,  short  story,  55  pp. 

1848.  ©ebidjte.  Annette  von  Droste  began  to  write  poems  when  she 
was  twelve.  It  is  here  impossible  to  date  them.  As  compiled  in 
the  Schiicking  edition,  her  poems  fill  825  pages.  She  owed  her 
greatest  success  to  the  twelve  entitled  "Heidebilder  "  (1838), 
37  pages.  She  wrote  a  romantic  epic  entitled  "Walther," 
65  pages.  Some  of  her  best  known  long,  narrative  poems 
are  "  Das  Hospiz  auf  dem  grossen  St.  Bernhard,"  "  Des  Arztes 
Vermachtnis,"  "  Die  Schlacht  im  Loener  Bruch,"  "  Der  Spiri- 
tus  Familiaris  des  Rosstauschers."  "Das  geistliche  Jahr"  is 
her  best  known  collection,  186  pages.  It  is  a  collection  of 
poems  for  the  various  "  sacred  "  days  of  the  year.  She  is  also 
the  author  of  nine  hymns,  20  pp. 


AUGUST   HEINRICH   HOFFMANN  VON   FALLERSLEBEN 

Born  April  2,  1798,  at  Fallersleben.  Father  a  merchant. 
Attended  the  preparatory  schools  of  Fallersleben,  Helmstedt, 
and  Braunschweig.  Entered  the  University  of  Gottingen  in 
1816  to  study  theology,  but  soon  took  up  philology^and  archae- 
ology. Met  Jak^b^Gnrnrn  in  Kassel,  who  drew  his  attention  to 
Gerrnanics.  Lived  in  Bonn  from_jj5i9  to  1821,  from  which 
point  he  made  various  journeys  to  the  Netherlands.  Appointed 
custodian  of  the  university  library  at  Breslau  in  1823,  professor 

[79] 


OUTLINE  OF  GERMAN  ROMANTICISM 

extraordinary  at  Breslau  in  1830,  regular  professor  in  _  18.35. 
Discharged  for  political  reasons  in  1842,  left  Breslau  in  1843 
and  wandered  over  Germany  as  a  worthy  martyr.  After  the 
Revolution  of  1848  he  received  a  pension  but  not  a  position 
in  Prussia.  Married  his  niece,  Ida  zum  Berge,  in  1849,  ^ve(^ 
then  in  Bingerbriick,  Neuwied  and  Weimar,  where  he  published, 
with  Oskar  Schade,  the  Weimarisches  Jahrbuch  fur  deutsche 
Sprache,  Litteratur  und  Kunst.  His  wife  died  in  1860.  After 
the  discontinuance  of  the  Jahrbuch,  he  became  librarian  of  the 
Duke  of  Ratibor  at  his  Schloss  Corvey  on  the  Weser ;  lived 
here  till  his  death.  Wrote  much,  about  187  separate  works. 
Did  a  great  deal  for  the  restoration  and  investigation  of  the 
folk  songs  of  Germany  and  the  surrounding  countries.  Had 
the  popular,  catchy  lyric  gift.  Best  known  as  the  author  of 
£)eutfd)tanb,  2>eutfd)lanb  iiOcr  atte§.  Died  at  Corvey,  Janu- 
ary 19,  1874. 

BIBLIOGRAPHY 

SJZetn  Seben.  Six  volumes  in  3,  Hannover,  1868.  Autobiographical 
and  interesting. 

§offmanng  won  ^allerSleben  gefammelte  SBerfe.  Eight  volumes,  ed- 
ited by  Heinrich  Gerstenberg,  Berlin,  1890-1893.  Contains  notes  and 
introductions,  also  an  abridged  edition  of  Hoffmann's  2JJein  Seben  in  the 
last  two  volumes.  853  pp. 

READING    LIST 

r  1840.  UnpolitifdEje  Steber  (written  out  of  the  feeling  of  disappointment 
at  the  reign  of  Friedrich  Wilhelm  IV,  costing  the  poet  his  free- 
dom), 204  pp. 

\       1841.  Unpolitifcfye  Sieber,  same  as  above,  202  pp. 

J  1843.  Spolitifdfje  ©ebtrfjte  cmS  ber  beutfdjen  SSorjett  (anthology  from 
Walther,  Freidank,  Marner,  Reinmar,  Luther,  Sachs,  Alberus, 
Waldis,  Fischart,  Ringwald,  Opitz,  Weckherlin,  Czepko,  Logau, 
Rist),  286  pp. 


[80] 


THE  SIDE  LIGHTS 

FRIEDRICH   HEINRICH  KARL,  FREIHERR  DE  LA 
MOTTE^FOUQUE 

Born  February  12,  1777,  at  Brandenburg  an  der  Havel. 
Grandson  of  the  famous  General  Fouque  who  served  under 
Frederick  the  Great,  he  came  of  an  old  French  family  that 
emigrated  to  Germany  for  conscience'  sake.  He  grew  up  at 
Sakrow  near  Potsdam  and  Lenzke  near  Fehrbellin,  at  which 
places  he  was  instructed  by  private  tutors,  among  others  by 
A.  L.  Hiilsen.  Intended  to  study  at  Halle,  but  entered  the  army 
in  i724Jind  took  part  in  the  Rhine  campaign,  during  which  he 
met  H^von  Kleist.  Married  at  Aschefsleben  while  quite  young 
and  was  soon  divorced.  Met  Goethe  and  Schiller  at  Weimar  in 
1802.  In  1803  he  married  Caroline  von  Briest,  the  divorcee 
of  Von  Rochow.  Retired  from  the  army  and  lived  on  his  wife's 
estate,  Nennhausen  near  Rathenow.  Entered  the  army  again 
in  1813,  rose  rapidly  and  was  discharged,  on  account  of  ill 
health,  with  the  rank  of  major.  From  1813  to  1831  he  lived 
alternately  at  Nennhausen  and  in  Berlin,  writing  with  great 
rapidity.  His  second  wife  died  July  27,  1831,  after  which  he 
went,  under  economic  pressure,  to  Halle,  where  he  lectured  on 
poetry  and  history.  Here  he  married  his  third  wife,  Albertine 
Tode,  also  a  writer.  With  time  he  became  pietistically  pessimis- 
^c.  Friedrich  Wilhelm  IV  called  him  to  Berlin  in  1842,  where 
he  lived  the  rest  of  his  life.  An  extremely  prolific  writer,  he  is 
the  author  of  over  a  hundred  works,  of  which  only_^JJndine," 
and  to  a  certain  extent  "Der  Zauberring,"  still  survive/^The 
public  had  little  to  do  with  him  after  1820.  Admired  by  Jean 
Paul  and  introduced  to  the  reading  public  by  A.  W.  Schlegel, 
he  in  turn  did  good  service  for  some  of  the  younger  poets, 
notably  Immermann,  with  whom  he  broke  after  he  had  heard 
of  Immermann's  unritterlirf)e§  SBetragen  in  connection  with 
the  student  fraternity  at  Halle.  It  is  easy  to  think  of  him  as 
the  opposite  of  E.  T.  A.  Hoffmann,  His  ideals  \\erc  faith,  love, 
honor,  chivalry.  He  spent  his  life  picturing  duels,  tournaments 

[81] 


OUTLINE  OF  GERMAN  ROMANTICISM 

i/  / 

and  adventures.    But  he  was  without  ideas.   His  horses  and  thet/ 

armor  of  his  knights  received  more  attention  than  anything  else. 
He  always  prayed  before  beginning  to  write.  Influenced  in  his 
youth  by  Klopstock,  Stolberg  and  Sined  the  Bard,  he  in  turn 
influenced  Friedrich  Kind,  Theodor  Hell  and  Graf  Loeben.  Poe 
admired  his  "  Undine."  His  works  lack  life.  He  drew  his  i^" 
material  from  many  lands,  paying  little  attention  to  historical 
accuracy.  Edited  magazines  and  translated.  £>er  mtirfifdje 
®id)terfiirft,  ber  gefeEfd)afttid)c  9Rittetyunft  ber  romantifdjen 
©chule.  Died  at  Berlin,  January  23,  1843. 

BIBLIOGRAPHY 


2lu§genwf)lte  SBerfe  oon  §rtebndE)  33aron  be  2a  2Jlotte  $ouque. 
gabe  letter  iQanb.)    Twelve  volumes  in  4  parts,  Halle,  1841. 

§OUqit6.  D.  N.  L.,  Volume  146  (II.  i),  biographical  introduction  by 
Max  Koch,  pages  i-cxxvi.  Berlin  and  Stuttgart,  no  year  (1893). 

gouque",  2lpel,  SJUlti^.  Seitrage  jur  ©efd^ia)te  ber  beutjd^en  9tomantil. 
By  Otto  Eduard  Schmidt,  Leipzig,  1908.  219  pp.  Biography  of  Fouque, 
pages  1-58. 

^OltqueS  5Ber!e.  Edited  by  Walther  Ziesemer,  3  parts  in  one  volume, 
Berlin  (Bong),  no  year  (recent). 

8e6en3gefd)icf)te  be3  Saron  gnebric^  be  Sa  9J?otte  goitqite, 
net  burc^  i^n  fel&ft.   Halle,  1840.  368  pp. 

liber  ^ouqueg  llnbine,  nebft  einem  Slnfjang  ent^altenb 
Dpernbirf)tung  Unbine.   By  Wilhelm  Pfeiffer,  Heidelberg,  1903.  169  pp. 

gouque  al^  ©rjahler.  $ouque3  ©tellung  jum  9iitterroman  unb  jur 
Siomantif.  By  Lothar  Jeuthe,  Breslau,  1910.  44  pp. 

£>er  §elb  beS  SJorbenS.    By  Max  Kammerer,  Rostock,  1909.   135  pp. 

READING    LIST 

\!  1808.  2)er  §elb  beg  3JorbenS,  trilogy  (©igvirb,  ber  ©djlangentobter;  ©i= 

gurb^  SJad^e  ;  3l^Iaviga)  in  dramatic  form,  509  pp. 
1811.   Unbine,  fairy  story,  90  pp. 

5er  gayfeetnng,  novel,  620  pp. 
1813.  ©ebtrfjte:  ^riegStte!)  fitr  bie  freiroiaigen  Safi^;  9Jac§  ber  @d^Iacf)t  . 
oon  ^ulm. 

[82] 


THE  SIDE  LIGHTS 

HERMANN  FERDINAND  FREILIGRATH 

Bom  June  17,  1810,  at  Detmold.  His  father  a  teacher.  His 
mother  died  when  he  was  seven  years  old ;  she  had  great  influ- 
ence on  him  by  telling  him  stories  from  the  Bible  that  gave  him 
inspiration  for  his  Oriental  pictures.  Attended  the  gymnasium 
at  Detmold  and  was  privately  instructed  and  moulded  by  Clos- 
termeier,  the  father-in-law  of  Grabbe.  He  became  a  merchant 
in  Soest  (1826-1831)  and  studied  French  and  English  on  the 
side;  a  bank-clerk  in  Amsterdam  (1831-1836),  during  which 
time  he  wrote  a  number  of  his  best  poems.  Visited  Schwaben, 
went  (1840)  to  Weimar,  married  Ida  Melos  in  1841  and  settled 
down  in  Darmstadt.  Friedrich  Wilhelm  IV  gave  him  (1842)  a 
yearly  pension  of  300  thaler  for  his  part  in  the  restoration  of 
the  Rolandsbogen,  at  least  Freiligrath  felt  that  this  was  the  ex- 
planation of  the  honor,  though  it  was  bestowed  at  the  sugges- 
tion of  Alexander  von  Humboldt.  Moved  (1842)  to  St.  Goar. 
Hoffmann  von  Fallersleben  first  interested  him  in  political  poetry ; 
he  gave  up  his  pension  in  1844.  Politically  embarrassed,  he 
travelled  through  Switzerland  and  Belgium,  went  to  London  in 
1846,  but  returned  to  Germany  in  1848  and  lived  in  Diisseldorf. 
Imprisoned  because  of  his  poems  (Aug.  29,  1848)  he  was  re- 
leased on  October  3  of  the  same  year  and  moved  then  to  Bilk 
near  Diisseldorf.  Again  obliged  to  leave  Germany,  he  went 
(1851)  to  London,  where  he  remained  until  1868.  The  London 
firm  for  which  he  worked  failed  in  1867,  Freiligrath  was  without 
an  income ;  German  patriots  presented  him  with  a  purse  of 
$45,000  on  his  return.  From  1868  till  his  death  he  lived  at 
Cannstatt  near  Stuttgart.  Editor,  translator,  business  man, 
patriot)  lyric  writer,  he  was  one  of  Germany's  truest  friends ; 
his  patriotism  was  without  partisanship.  He  was  acquainted 
and  friendly  with  Auerbach,  Wolfgang  Miiller,  Geibel,  Matze- 
rath,  Pfarrius,  Hacklander,  Simrock,  Immermann,  Uhland, 
Kerner,  Cotta,  Schwab,  Karl  Mayer  and  others.  He  translated 
Manzohi,  Lamartine,  Reboul,  De  Musset,  Desbordes-Valmore, 

[83] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Barbier,    Coleridge,    Southey,    Charles    Lamb,    Keats,    Felicia 

Hemans,    Scott,    Thomas    Moore,    Hood,    Tennyson,    Burns, 

Longfellow,  Harte,  Hugo,  Aldrich,  Whitman  and  others.    One 

i    of  his  best  known  statements  is,  ®er  3)td)ter  ftefjt  auf  einer 

I  fyofyern  SSarte,  ai§>  auf  ben  3innen  bcr  Cartel.   Connected  with 

Romanticism  by  reason  of  his  relations  with  other  members 

of  the  movement,  his  lyrics  with  their  Oriental  and  tropical 

pictures,  his  belief  in  a  united  German  Empire,  his  subjectivity, 

\  his  translations,  his  revolutionary  spirit,  his  attitude  toward  the 

sea,  his  whole  life.    Died  at  Cannstatt,  March  18,  1876. 

BIBLIOGRAPHY 

$reiligratf)3  2Ber!e  in  jedE)3  £etlen.  Edited  by  Julius  Schwering, 
Berlin  (Bong),  no  year  (recent).  Contains  an  introduction,  pages  i  to 
cxx,  and  all  the  other  devices  known  to  this  excellent  series. 

^•erbinanb  ^reiligratf).  ©in  btograpfjifdjeS  25enfmal.  By  Schmidt- 
Weissenfels,  Stuttgart,  1876.  120  pp. 

gerbinanb  greiligratlj.  ©in  S)idE)terleben  in  Sriefen.  By  Wilhelm 
Buchner,  Lahr,  1882.  945  (large)  pages,  containing  many  valuable 
letters. 

Seiltfcfye  (S&araftere.  By  Richard  M.  Meyer,  Berlin,  1897.  280  pages. 
Freiligrath,  pages  163  to  177. 

gerbinanb  'gretligratf)  &te  polittfdjer  SDidjter.  By  Anton  Volbert, 
Miinster,  1907.  69  pp. 

§erbtnanb  greiligrat^  in  Slmerica.  By  M.  D.  Learned,  in  Americana 
Germanica,  Volume  i,  number  i,  pages  54  to  73. 

§erbinanb  5reW9ratf)3  ilberfe^ungen  aug  bent  (Snglifcfjen  im  erften 
3af)rje^nt  jeine§  @d)affen§.  By  Wilhelm  Erbach,  Bonn,  1908.  137  pp. 

gerbinanb  ^reiligrat^  iiberfe^vtngen  au§  Victor  §ugo.  By  Ernst 
Breitfeld,  Plauen,  1896.  28  (quarto)  pp. 

READING   LIST 

1877.  $erbinanb  greiligrat^  gelammelte  Sid^tungen  (dating  back), 
6  volumes  in  three.  Freiligrath  began  to  write  poems  (he 
wrote  nothing  else)  in  his  fifteenth  year.  Some  of  his  best 
known  ones  are  2JJooS=£&ee ;  2Bar'  idE)  im  S3ann  con 
Xoren ;  S)er  2Uer.anbriner ;  Soroenritt ;  2)er  £ie&e  S)auer. 

[84] 


THE  SIDE  LIGHTS 

FRANZ  EMANUEL  AUGUST  GEIBEL 

Born  October  18,  1815,  at  Liibeck.  Father  a  Reformed 
pastor,  mother  of  French  emigrant  stock.  Attended  the  Katha- 
rineum  of  Liibeck,  entered  (1835)  the  University  of  Bonn  to 
study  theology  and  philology,  the  University  of  Berlin  (1836) 
to  study  philology  only.  Through  the  influence  of  his  friend  of 
student  days  in  Liibeck,  Ernst  Curtius,  he  received  a  position 
as  tutor  in  the  house  of  the  Russian  ambassador,  Katakazy,  in 
Athens  in  1838,  having  been  given  in  the  meanwhile  his  doctor's 
degree  at  Jena  in  absentia.  Remained  one  year,  then  returned 
to  Liibeck  and  wrote  poems.  He  accepted  an  invitation  from 
Freiherr  Karl  von  der  Malsburg  to  spend  some  time  at  his 
Schloss  Escheberg  near  Kassel.  Friedrich  Wilhelm  IV  gave  him 
(1842)  an  annual  pension  of  300  thaler.  Spent  the  year  1843 
at  St.  Goar  with  Freiligrath,  at  Weinsberg  with  J.  Kerner,  at 
Stuttgart  with  Cotta.  From  1844  to  1852  he  went  from  place 
to  place,  with  Liibeck  as  his  headquarters.  Accepted  in  1852 
the  call  to  Miinchen  as  honorary  professor  of  literature.  Married 
(1852)  Amanda  Luise  Trummer  of  Liibeck.  A  daughter  was 
born  in  1853,  in  1855  his  wife  died.  His  Bavarian  position 
came  to  grief  in  1868,  when  he  greeted  Friedrich  Wilhelm  IV 
as  the  royal  ancestor  of  united  Germany.  This  resulted  in  his 
leaving  South  Germany  and  making  Liibeck  his  permanent 
abode.  He  received  the  Schiller  Prize  for  his  "  Sophonisbe  "  in 
1869.  His  daughter  married  in  1872  ;  this,  connected  with  his 
illness,  caused  him  to  retire  more  and  more  from  active  life. 

._JBegan  to  publish  poems  when  he  was  nineteen.  A  master  of 
form,  sang  of  spring  and  love  and  patriotic,  national  themes 

~~"from  1840  to  1871.  Knew  practically  every  contemporaneous 
Romanticist.  Was  influenced  by  Walther  von  der  Vogelweide, 
Holderlin,  Uhland,  Eichendorff,  Morike,  J.  D.  Gries,  Chamisso, 
Lenau,  Heine,  Riickert,  Platen.  This  and  his  own  poetizing  of 
romantic  themes  connects  him  with  the  Romantic  movement.  The 
youngest  of  the  entire  group,  he  died  at  Liibeck,  April  6,  1884. 

[85] 


BIBLIOGRAPHY 

©manuel  ©eibel.    By  Karl  Goedeke,  Stuttgart,  1869.  366  pp.   Pos- 
sibly the  most  reliable  source  for  a  study  of  Geibel. 

©manuel  ©eibel,  au§  ©rinnerungen,  Skiefen  unb  SCagebiicljern.  By 
K.  K.  T.  Litzmann,  Berlin,  1887.    254  pp. 

©monuel  ©eibel,  ©anger  ber  Siebe,  iQerolb  beg  3leidje3 ;  ein  beutfdjeS 
3Mcf)terleben.    By  K.  T.  Gadertz,  Leipzig,  1897.   412  pp. 

©manuel  ©eibel  al3  religiofer  Sifter.    By  H.  Lindenberg,  Liibeck, 
1888.   35  pp. 

35ie  moberne  9ZtbelungenbidE)tung :  ©eibel,  ijbebbel,  Sorban.  By  Georg 
Reinhard  Rope,  Hamburg,  1869.    224  pp. 

©manuel  ©eibel.   ©in  ©ebenfblatt.  Liibeck,  1884.  50  pp.  No  name. 

33oQenbete  unb  Sfangenbe.    By  Richard  Maria  Werner,  Minden  i.  W., 
1900.   320  pp.   Geibel,  pages  39-64. 

Smanuel  @eibel3  gefammelte  SBerle.   Eight  volumes  in  4,  Stuttgart, 
1893  (3d  ed.). 

©manuel  ©eibel§  Snril  auf  i^re  beutfd^en  SSorbilber  gepriift.  By  Fried- 
rich  Stichternath,  Miinster  i.  W.,  1911.    146  pp.    A  valuable  study. 

©mamtel  ©eibelS  ^UQen^^^.    By  Johannes  Weigle,  Marburg,  1910. 
94  pp. 

©maniiel  ©eibel  al§  iiberfe^er  unb  SRadjafimer  englifd^er  2)id^tungen. 
By  Heinrich  Volkenborn,  Miinster,  1910.   94  pp.- 

©manuel  ©eibel  unb  bie  franjofifd^e  Sgril.  By  M.  D.  Pradels,  Miinster, 
no  year  (recent). 

READING   LIST 

1855.  SMfter  3lnbrea,  comedy  in  2  acts,  75  pp. 

1857.   Srunljilb,  tragedy  in  5  acts,  166  pp. 

1868.   ©op^oni^be,  tragedy  in  5  acts,  94  pp. 

1884.  ©ebidjte,  dating  back  to  1834,  when  he  first  published  some  of  his 
poems  in  the  Musenalmanach,  edited  by  Schwab  and  Chamisso. 
His  poems  were  in  the  I2gth  edition  in  1902.  Aside  from  the 
three  themes — love,  nature,  patriotism — he  wrote  on  many  other 
topics,  and  translated,  with  Heinrich  Leuthold,  selections  of  the 
French  poets  from  the  Revolution  on.  He  translated  also  from 
English  and  Spanish.  Adolf  Jensen  (1827-1879)  has  set  the  follow- 
ing lyrics  to  music :  Sereinft,  ©ebanfe  mein ;  S)u  feudjter  ^rii^ 
Iing3abenb;  9?un  bie  ©djatten  bunfeln;  %m  ©ebirg ;  D  fcb/neHer, 
mein  SRofi ;  $linge,  f linge,  mein  ^anbcto ;  Unb  fdjlafft  bu,  mein 
2Rabdjen;  3lmUferbe§5Iuffeg.  J. W.Lyra, Lachner, Franz, Rubin- 
stein, Hiller  and  Brahms  ha^e  also  composed  music  for  his  songs. 

[86] 


THE  SIDE  LIGHTS 

CHRISTIAN  DIETRICH  GRABBE 

Born  December  n,  1801,  at  Detmold.  Father  a  plain  busi- 
ness man,  mother  passionate,  stubborn,  rash.  Studied  (1820- 
1822)  law  at  Leipzig  and  led  a  wild  life.  Wrote  "Gothland" 
while  there.  Studied  (1822)  at  Berlin,  associated  with  E.  T. 
A.  Hoffmann,  Heine,  Uechtritz.  Called  to  Dresden  by  Tieck  in 
1823,  passed  his  bar  examination  at  Detmold  in  1824,  became 
a  lawyer  without  much  practice.  With  the  help  of  Klostermeier 
he  received  (1827)  a  military  position  in  Detmold.  Married 
Klostermeier's  daughter  Lucie  in  1833.  Marriage  extremely 
unhappy.  She  rejoiced  at  his  death.  Dismissed  from  his  posi- 
tion in  1834,  went  to  Frankfurt  am  Main;  associated  with 
Duller,  his  biographer,  led  a  wild  life.  Immermann  invited  him 
then  to  Diisseldorf,  where  he  continued  his  dissipation.  Re- 
turned in  1836  to  Detmold.  Talented,  especially  along  the  line 
of  the  drama;  dissipated,  intemperate,  without  character;  a 
strong  opponent  of  the  old  Romanticists,  influenced  by  Schiller ; 
Goethe,  Shakespeare,  Byron.  Gervinus  said  his  dramas  were 
"  senseless,"  Scherer  said  he  was  "  foolish."  Represents  the 
belated  storm-and-stress  phase  of  Romanticism.  Died  at  Det- 
mold, September  12,  1836. 

BIBLIOGRAPHY 

©rabbe'3  iteben.  By  Eduard  Duller,  Diisseldorf,  1838.  91  pp.  Unfair. 
The  same  volume  contains  his  unfinished  drama  "  Die  Hermanns- 
schlacht,"  139  pp. 

33ettrdgejum@tubuim ©rabbeS.  ByC.A.Piper.Munchen.iSgS.  145??. 

SBeitrdge  jut  $enntni3  ©rabbet.    By  Oscar  Blumenthal,  Berlin,  1875. 

44  PP- 

©rabbe  al§  SKenfcb,  unb  Starter.  By  Arthur  Ploch,  Halle,  1904.  71  pp. 

©rabbeS  SerfyaltmS  ju  ©fyafefpeare.  By  Hermann  Bartmann,  MUn- 
ster,  1908.  50  pp. 

Shakespeare's  Influence  upon  Grabbe.  By  Horace  Lind  Hoch,  Phil- 
adelphia, 1911.  75  pp. 

Gljrift.  Stetr.  ©rabbe'3  fammtlidje  SBerfe.  Edited  by  Oscar  Blumen- 
thal, 4  volumes,  Detmold,  1874.  Contains  notes. 

[87] 


OUTLINE  OF  GERMAN  ROMANTICISM 

READING    LIST 

1822.  igerjog  Sfyeobor  Don  ©otfylanb,  tragedy  in  5  acts,  315  pp. 

1822.  ©cfyerj,  Satire,  ^onte  unb  tiefere  Sebeutung,  comedy  in  3  acts, 

100  pp. 

1827.  Son  3>uan  unb  $auft,  tragedy  in  4  acts,  153  pp. 

1827.  2lbf)anblung  iiber  bie  ©fjafefpearomanie,  40  pp. 

1829.  $aifer  ^iebrid^  Sarbarofja,  tragedy  in  5  acts,  210  pp. 

1830.  $aifer  jQeinricb,  ber  ©etfjfte,  tragedy  in  5  acts,  252  pp. 

1831.  -Kapoleon  ober  bie  fyunbert  £age,  drama  in  5  acts,  256  pp. 
1835.  2lfdE)enbrobel,  dramatic  fairy  tale,  85  pp. 


ANTON  ALEXANDER,  GRAF  VON  AUERSPERG 

(ANASTASIUS  GRUN) 

Born  April  n,  1806,  at  Laibach  in  Krain.  Came  of  one  of 
the  oldest  families  of  the  Austrian  nobility.  "  Anastasius  "  means 
''resurrected,'  while  green  is  the  color  of  hope.  Passed  his 
childhood  at  the  paternal  estate,  Thurn  am  Hart,  in  Unterkrain  ; 
entered  (1813)  the  Theresianum  in  Wien  and  then  the  academy 
for  engineers.  His  father  died  in  1816  ;  he  then  studied  law  and 
philosophy  at  the  universities  of  Graz  and  Wien,  spent  some 
time  in  travelling,  took  over  the  management  of  his  estate  in 
1831  ;  made  a  journey  in  1837  through  France,  Belgium  and 
Holland ;  married  Countess  Attems  in  1839  and  lived  from  that 
time  principally  on  his  estate.  Elected  a  member  of  the  Frankfurt 
Parliament  in  1848  and  then  of  the  National  Assembly,  from 
which  he  soon  resigned.  Entered  politics  again  in  1860  and 
worked  for  all  that  was  German.  He  was  made  a  ©efyeimrat 
in  1863,  honorary  citizen  of  Wien  in  1864,  honorary  doctor  of 
the  University  of  Wien  in  1865,  president  of  the  delegates  of 
the  Imperial  Parliament  in  1868.  Showed  even  as  a  boy  signs 
of  extreme  love  of  freedom.  Belongs  to  the  Austrian  group  of 
political  poets  to  which  belonged  Karl  Beck  (1817-1879), 
Moritz  Hautpmann  (1821-1872)  and  Alfred  Meissner  (1822- 
1885).  Associated  with  Lenau  as  we  associate  Byron  with 

[88] 


THE  SIDE  LIGHTS 

Shelley,  Schiller  with  Goethe,  and  Uhland  with  Schwab.  Con- 
nected with  Romanticism  by  his  persistent  and  fearless  opposi- 
tion to  Metternich,  his  glorification  of  old  German  heroes, 
notably  Maximilian  I,  his  belief  in  the  "  good  old  time,"  and  his 
language,  which  abounds  in  contrasts,  hyperboles  and  florid 
figures.  Wrote  but  little ;  his  poetry,  generally  in  trochaics,  is 
the  poetry  of  reflection  and  portrayal  rather  than  of  creation  and 
narration.  Grillparzer  said  of  him  :  (£r  roeifj  ganj  loofyt  511  bil= 
bcrn,  attein  511  bitben  nicht.  Translated  the  English"  Robin  Hood 
Ballads "  and  the  Slavic  "  Volkslieder  aus  Krain."  Died  at 
Graz,  September  12,  1876. 

BIBLIOGRAPHY 

2lnaftofiu3  ©riin3  famtlicfje  SBerfe.  Edited  by  Anton  Schlosser,  Leip- 
zig, no  year  (1906).  Ten  volumes  in  2,  complete.  Contains  biographical 
introduction,  Vol.  i,  pages  i  to  193,  also  individual  introductions  to  sep- 
arate works,  and  elaborate  bibliography,  pages  194  to  200. 

2lnaftafui3  ©din.  SSerfdjoUeneS  unb  33ergU6te§  au3  befjen  Seben  imb 
SBtrfen.  By  P.  v.  Radies,  Leipzig,  1879.  2O°  PP- 

2lnoftafiu3  ©rim  unb  9?ifolau§  Senau.  By  Johannes  Proelss,  in 
Deutsche  Rundschau,  Volume  CXXVI,  1906,  pages  84  to  107.  Con- 
tains a  good  deal  of  important  material  for  a  study  of  the  mutual  relation 
of  the  two  poets. 

READING    LIST 

1830.  2)er  lefcte  fitter  (Maximilian  I),  cycle  of  romances  in  the  Nibe- 

lungen  verse  form,  no  pp. 

1831.  ©pajiergange  eine3  SBtener  ^oeten,  in  verse,  50  pp. 

1835.    ©djutt,  in  verse,  100  pp.    Supposed  to  be  his  best  work;  shows 
how  the  rubbish  of  the  past  enriches  the  soil  of  the  future. 


[89] 


OUTLINE  OF  GERMAN  ROMANTICISM 

ELIGIUS  FRANZ  JOSEF,  FREIHERR  VON  MUNCH- 
BELLINGHAUSEN  (FRIEDRICH  HALM) 

Born  April  2,  1806,  at  Krakau,  the  son  of  a  high  official. 
Studied  law  and  philosophy,  at  Briinn  and  Wien.  Married  in 
1826  Sophie  von  Schloissnigg.  His  wife  became  chronically  ill 
soon  after  the  marriage ;  Halm  entered  into  a  long,  honorable 
friendship  with  the  famous  actress  Julie  Rettich  (died  1866). 
Lived  an  extremely  successful  life.  Became  councillor  in  1840, 
custodian  of  the  Court  Library  at  Wien  in  1845,  member  of  the 
Imperial  Academy  of  Science  at  Wien  in  1847,  elected  to  the 
Austrian  House  of  Lords  in  1861,  made  general  intendant  of 
the  Court  Theatres  at  Wien  in  1867.  Yet,  like  Grillparzer  and 
Stifter,  he  suffered  from  moods,  melancholy,  sensitiveness  and 

/sickness.  Not  happy  as  a  poet,  since  he  wrote  not  to  make  a 
confession,  but  to  present  an  artistic  picture.  More  successful  in 
his  day  than  Grillparzer  or  Hebbel.  Wrote  many  poems,  but 
few  good  ones.  Brought  Romanticism  into  the  drama.  It  has 
been  said  that  he  succeeded  because  of  the  weakness  of  his 
opponents.  Did  good  work  along  the  line  of  the  Spanish  drama. 
Never  became  really  popular.  Died  at  Wien,  May  22,  1871. 

BIBLIOGRAPHY 

^-riebricf)  §a(mg  SBerfe.  Wien,  1856-1872.  Twelve  volumes  in  4. 
No  introduction. 

j^riebria)  §alm  unb  ba§  fpanifdje  Srama.  By  Hermann  Schneider, 
Berlin,  1909.  258  pp. 

tiber  £)alm3  SamoenS.  By  Ludwig  Scharf,  Braunschweig,  1882. 
In  "  Studien  und  Skizzen,"  pages  50  to  62. 

2ftunci)=33eUittgf)aufen.  By  Anton  Schonbach,  "  Allgemeine  Deutsche 
Biographic,"  Volume  22,  pages  718-725.  1885. 

READING    LIST 

1835.   (3rifelbi3,  dramatic  poem  in  5  acts,  144  pp. 
1837.    6amoen3,  dramatic  poem  in  one  act,  40  pp. 
1842.    S)er  @ob,tt  bet  SBtlbnifi,  dramatic  poem  in  5  acts,  180  pp. 
1854.  2)er  j5?ecf)ter  won  3tox>ertna,  tragedy  in  5  acts,  145  pp. 
1864.  2)a3  i£>au3  an  ber  SSeronabriidEe,  prose  tale,  162  pp. 

[90] 


THE  SIDE  LIGHTS 

WILHELM  HAUFF 

Born  November  29,  1802,  at  Stuttgart.  His  father,  a  gov- 
ernment official  at  Tubingen  and  Stuttgart,  died  in  1809.  Lived 
then  at  the  home  of  his  maternal  grandmother  in  Tubingen ; 
entered  the  cloister  school  at  Blaubeuren  in  1818,  the  Protestant 
Seminary  at  Tubingen  in  1820,  an  institution  founded  by  Ulrich 
von  Wiirttemberg  in  1536  ;  took  his  doctor's  degree  in  theology 
(Oct.  27,  1824);  became  private  tutor  to  the  children  of  Baron 
von  Hiigel  in  Stuttgart,  where  he  remained  over  a  year.  In 
1826  he  made  a  tour  through  Europe,  visiting  France,  Belgium 
and  North  Germany.  His  "  Mann  im  Monde  "  involved  him  in 
a  lawsuit  with  Clauren,  which  he  legally  lost  but  which  brought 
him  to  the  attention  of  the  public  through  his  "  Kontrovers- 
predigt,"  in  which  he  annihilated  Clauren  from  the  literary 
point  of  view.  In  1827  he  became  editor  of  the  Cottasches 
Morgenblatt,  married  his  cousin  (Feb.  13,  1827)  and  settled 
down  in  Stuttgart  with  apparently  a  long  life  of  usefulness 
before  him.  Inherited  his  literary  inspiration  from  his  mother,  a 
woman  of  keen  intellect  and  fertile  imagination.  Studied  the- 
ology in  the  same  institution  through  which  Hegel,  Holderlin, 
Schelling  and  other  distinguished  men  had  passed ;  was  a  pro- 
digious reader  and  prolific  writer,  a  born  story-teller ;  a  dreamy, 
not  robust,  yet  exuberant,  youth  ;  personally  acquainted  with  the 
literary  men  of  his  day,  sure  of  a  place  in  the  affectionate 
memory  of  all  Swabians.  His  daughter  died  in  1844,  his  widow 
in  1867,  he  himself  at  Stuttgart,  November  18,  1827. 

BIBLIOGRAPHY 

2B.  §oup  jtimmtlidje  ©dEjrtften.  Edited  by  Gustav  Schwab,  Stutt- 
gart, 1830.  Thirty-six  small  volumes  in  12  parts,  introduction  in  Volume 
i,  pages  1^52. 

2BUf)elm  £<wff .  Edited  by  Felix  Bobertag,  D.  N.  L.,  Volumes  1 56, 1 57, 
158  (i),  1 58  (2).  The  best  edition,  contains  general  and  special  introductions. 

£<Utff3  famtltd^e  SBerfc.  Edited  by  Ad.  Stern,  6  volumes,  Leipzig,  no 
year.  Contains  introduction,  illustration,  facsimile.  (Max  HessesVerlag.) 


OUTLINE  OF  GERMAN  ROMANTICISM 

READING    LIST 

1826.  8itf)tenftein,  romantifdE)e  ©age  au3  ber  nwrttentbergifdjen  ®& 

fd)idl)te,  351  pp.    Shows  influence  of  Scott,  Fouque,  Wieland. 
His  main  work. 

1827.  Sptjantafien  im  33remer  3iats>feUer,  fantastic  tale,  recalling  Heine 

and  Hoffmann,  46  pp. 
1827.    2)er  SJJann  im  SJZonbe,  outlined  in   1823,  a  satire  on  Clauren, 

197  pp. 
1827.   Set  3raerS  ^ttje  (one  of  the  "  Marchen  fiir  Sohne  und  Tochter 

gebildeter  Stande  "),  27  pp. 

1827.   25a3  falte  §erj  (one  of  the  "  Marchen  "),  60  pp. 
1827.    ©ebtcfjte,  dating  back,  35  pp.    Two  of  his  best  known  poems  are 

Sftorgenrot ;  @teE)'  id)  in  finftrer.  2JZttternadE)t.    The  former  is 

based  on  a  folk  song  and  has  in  turn  become  one. 


CHAJJIM  HARRY  HEINE 

Heinrich  Heine  was  born  at  Diisseldorf,  December  13,  1797. 
His  father,  Samson  Heine,  was  a  practical  merchant ;  his  mother, 
Elisabeth  van  Geldern,  a  woman  of  imagination  and  instinctive 
feeling  for  poetry.  After  attending  the  lyceum  at  Diisseldorf 
from  1808  to  1815,  he  was  placed  in  the  office  of  a  banker  in 
Frankfurt  am  Main,  and  in  1816  he  entered  into  partnership 
with  his  uncle,  Salomon  Heine,  in  Hamburg.  The  firm  was 
closed  in  1819.  In  the  fall  of  the  same  year  he  entered  the 
University  of  Bonn  to  study  law,  his  uncle  supporting  him.  He 
joined  a  SBurfdjcnfc&aft ;  heard  lectures  by  A.  W.  Schlegel,  whom 
he  at  first  loudly  praised  and  then  ridiculed  —  one  of  the  first 
exemplifications  of  that  instability  of  character  that  he  was  so  fre- 
quently to  betray  in  later  life.  In  1820  he  entered  the  Univer- 
sity of  Gottingen,  from  which  he  was  suspended  on  January  23, 
1821,  for  reasons  that  have  never  been  definitely  agreed  upon 
by  his  biographers.  He  then  continued  his  studies  in  Berlin, 
where  he  frequented  the  brilliant  salon  of  Rahel  Lewin,  and 
associated  with  Grabbe  and  others  of  doubtful  influence.  It  was 

[92] 


THE  SIDE  LIGHTS 

e  that  he  published  in  1822  his  first  volume  of  poems.  In 
1823  we  find  him  in  various  places  on  various  missions  — 
Liineburg,  Kuxhaven,  Hamburg  and  Berlin.  In  1824  he 
matriculated  again  at  Gottingen ;  made  a  journey  in  the  mean- 
while through  the  Harz  Mountains  and  Thuringia,  on  which  he 
met  Goethe ;  and  took  his  doctor's  degree  in  law  at  Gottingen 
on  July  20,  1825,  having  already  joined  the  Christian  Church 
on  June  20,  1825,  taking  the  name  of  Christian  Johann  Hein- 
rich  Heine.  After  visiting  Norderney  in  1826  and  England  in 
1827,  he  became  coeditor  in  Miinchen  with  F.  Lindner  of  the 
Neue  Allgemeine  Politische  Annalen,  in  which  position  he  praised 
and  flattered  the  Minister  Schenk,  the  poet  Beer  and  King  Lud- 
wig,  but  nothing  came  of  it.  From  Miinchen  he  went  to  Italy, 
returned  to  Germany,  lived  a  short  while  in  Berlin  and  Hamburg 
and  then  went,  in  1831,  to  Paris,  never  permanently  to  return. 
From  1834  on  he  associated  with  Eugenie  Mirat,  a  woman  of 
no  culture,  and  married  her  in  1841.  He  drew  a  pension  of 
4800  francs  from  the  French  government,  and  one  of  nearly 
equal  amount  from  his  uncle,  although  the  legality  of  both  has 
been  seriously  questioned.  In  1843  an<^  J^44  he  returned 
to  Germany  without  exciting  any  great  sensation  or  sympathy. 
In  1845  he  began  to  suffer  from  tuberculosis  of  the  spinal 
column,  an  affliction  which  tied  him  to  his  "  mattress  grave  "  in 
1848  and  from  which  he  was  never  able  to  rise.  He  died  at 
Paris,  February  17,  1856. 

The  one  conspicuous  Hebrew  in  the  Romantic  School,  Heine 
holds  a  unique  position,  so  unique  that  to  appraise  his  worth  it 
is  necessary  to  set  up  new  canons.  There  is  no  character  in  all 
German  literature  about  whom  there  exist  such  contradictory 
opinions.  He  has  been  lauded  as  an  Achilles  by  his  friends  and 
condemned  as  a  Thersites  by  his  enemies.  Morike  said  of  him  : 
(Sr  ift  em  $)td)ter  gang  itnb  gar,  aber  idj  mocfyte  nidjt  eine 
(Stunbe  mit  ifjm  leben.  He  had  but  one  permanent  friend, 
Immermann,  and  there  is  room  for  doubt  as  to  the  sacredness  of 
even  this  friendship.  He  had,  however,  many  open  foes  — 

[93] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Platen,  Borne,  Menzel.  His  own  admiration  for  Napoleon  is 
explicable  if  not  excusable  in  view  of  the  fact  that  Napoleon 
liberated  the  Jews  in  Diisseldorf.  A  doubter  himself  from  child- 
hood, even  as  to  the  year  of  his  birth,  a  great  deal  of  his  life  is 
shrouded  in  mystery.  His  love  affairs  with  his  cousins  Amalie 
and  Therese  Heine  have  never  been  definitively  cleared  up.  His 
relation  to  Camille  Selden,  who  was  with  him  in  his  last  years, 
is  also  a  matter  of  conjecture.  He  delighted  in  beclouding  the 
issue  —  it  is  never  possible  to  say  where  he  stands,  even  in 
poetry.  He  was  primarily  a  first-class  lyric  writer  and  a  high- 
class  journalist,  and  that  about  covers  his  merits.  He  was  not  a 
man  of  great  genius,  but  of  wonderful,  almost  unequaled,  talent. 
What  he  did  he  did  with  efficiency  ;  as  a  cynic  and  satirist  and 
wilifier,  Germany  has  not  produced  his  peer.  His  insincerity 


j^was  equally  remarkable.  He  derived  great  help  from  Roman- 
'  /ticism  and  then  poked  all  sorts  of  fun  at  it.  He  learned  from 
the  folk  songs,  from  Tieck,  Eichendorff,  Uhland,  Brentano  and 
Wilhelm  Miiller,  and  then  was  always  ready  to  come  up  against 
them  with  some  sarcastic  remark  that  makes  good  reading.  He 
was  the  first  German  to  make  happy  use  of  the  sea  in  poetry  ; 
,  by  his  "  Reisebilder  "  he  started  the  Germans  on  hitherto  un- 
trodden paths;  by  his  feuilletons  (1830-40)  he  introduced  a 
form  that  has  ever  since  found  favor  ;  in  his  "  Lieder  "  he  sang 
of  unrequited  love  as  only  he  could  sing  ;  by  his  general  influ- 
ence Gaudy,  Dingelstedt,  Baumbach,  Scheffel  and  Grisebach  are 
different  from  what  they  would  have  been.  His  talent  was 
vastly  superior  to  his  character.  He  had  just  cause  for  a  grudge 
against  Germany,  but  so  had  many  others  who  expressed  it  in 
better  form  than  he  —  Gutzkow,  Platen,  Uhland.  As  a  drama- 
tist he  had  no  ability  at  all,  yet  he  thought  he  had.  Heine  is 
Germany's  one  statueless  and  monumentless  poet,  despite  the 
fact  that  German  literature  is  indebted  to  him  for  three  great 
services  :  the  breaking  away  from  Mediaeval-Catholic  Romanti- 
cism, the  giving  up  of  formlessness  and  the  synchronous  intro- 
duction of  plasticity,  and  the  interweaving  of  modern  life  into 

[94] 


THE  SIDE  LIGHTS 

modern  literature.  But  if  Germany  has  turned  a  cold  shoulder 
on  Heine,  the  outside  world  has  not.  As  in  the  case  of  Goethe, 
Hoffmann,  Hauptmann  and  Nietzsche,  the  other  great  nations 
have  studied  him  in  detail.  Germany  has  studied  him  without 
awarding  him  external  honors. 

BIBLIOGRAPHY 

§einndj  £>etne§  gefammelte  SBerf e.  Edited  by  Gustav  Karpeles,  Berlin, 
1887.  Nine  volumes,  critical. 

§einrid)  §etne3  ftimtlidje  SBerfe.  Edited  by  Ernst  Elster,  Leipzig  and 
Wien  (Bibliographisches  Institut),  7  volumes,  no  year  (1887-1890).  The 
best  place  to  read  Heine.  Contains  notes,  facsimiles,  biographical  in- 
troduction, variants  and  all  the  other  devices  known  to  modern  editing. 
The  Walzel  edition  will  hardly  supersede  this  one. 

jQeinrid)  §eine§  famtUdje  2Berfe.  Edited  by  Stephan  Born,  1 2.  volumes, 
Stuttgart,  no  year  (1887  ff.). 

<jbetnrid)  <beine3  jamtltc^e  SBerle.  Edited  by  Oskar  Walzel,  assisted 
by  Jonas  Frankel,  Ludwig  Krahe,  Albert  Litzmann,  Julius  Petersen. 
(Insel  Verlag.)  Not  yet  (1914)  complete;  has  been  much  heralded. 

Heinrich  Heine's  Works.  Translated  by  C.  G.  Leland,  New  York, 
1906.  Twelve  volumes. 

ijbetnricf)  &eine§  Sidjtungen  auSgeroafjlt  unb  erlaittert.  By  Karl  Hessel, 
Bonn,  1887.  349  pp. 

The  Prose  Writings  of  Heinrich  Heine.  Edited  with  an  introduction 
by  Havelock  Ellis,  London,  1887.  327  pp. 

§eine3  2lutobiograpb,ie,  naa)  feinen  2Berfen,  Sriefen  unb  ©efprcidjen. 
By  Gustav  Karpeles,  Berlin,  1888.  586  pp.  This  work  was  translated 
by  Arthur  Dexter  and  published  by  Henry  Holt  and  Company,  New 
York,  1893.  375  pp. 

Jbeinricf)  .^eineS  ^amilimltben.  By  his  nephew,  Ludwig  von  Embden, 
Hamburg,  1892.  344  pp.  Contains  i2«  letters. 

§Ctne§  StebeglCiCn.    By  Max  Kaufmann,  Zurich,  1897.    135  pp. 

©rtnnerungen  an  iQeinrid)  Sbeine  unb  feine  $amilie.  By  nis  brother, 
Maximilian  Heine,  Berlin,  1868.  247  pp. 

2lu3  bem  Seben  SjbeinricI)  Seined.  By  Hermann  Hiiffer,  Berlin,  1878. 
181  pp. 

Speinric^  Jpetne.  ©rinnerungen  au§  ben  le^ten  jroantfg  3^^?"  fetne^ 
Seben^.  By  Mme  Caroline  Jaubert,  translated  by  L.  Welter,  Paris  and 
Leipzig,  1884.  93  PP- 

[95] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Sjbeinricf)  £ieine :  2lu3  fetnem  Seben  unb  au3  feiner  $eit.  By  Gustav 
Karpeles,  Leipzig,  1899.  347  PP- 

§einridj  £>eine :  ©ein  Seben,  fein  Sfyarafter  unb  feine  SBerfe  barge= 
ftellt.  By  Heinrich  Keiter,  Koln,  1891.  127  pp. 

jQeinritf)  igeine :  Grinnerungen.  By  Alfred  Meissner,  Hamburg,  1856. 
266  pp. 

!$einrid)  §eine :  ©ein  SebenSgang  unb  feine  ©dEjriften.  By  K.  R.  Prolls, 
Stuttgart,  1886.  393  pp. 

<£>einritf)  igeineS  ftranf&eit  unb  £eiben§geftf)id)te.  By  S.  Rahmer,  Ber- 
lin, 1902.  81  pp. 

©rinnerungen  an  ^einrtc^  §eine.  By  his  niece,  Maria  Embden-Heine, 
Princessa  della  Rocca,  Hamburg,  1881.  156  pp. 

§einricf)  §eineg  le^te  2;age.  From  the  French  of  Camille  Selden, 
Jena,  1884.  104  pp. 

Subnrig  Some  unb  ^einrict;  §eine.  By  G.  M.  C.  Brandes,  Leipzig, 
1898  (2d  ed.).  190  pp. 

igeinrid)  §etne  unb  feine  3e^9en°ffen.  By  Gustav  Karpeles,  Berlin, 
1888.  345  pp. 

ijbeineg  (5f)orafter  unb  bie  moberne  ©eele.  By  Max  Kaufmann, 
.Ziirich,  1902.  no  pp. 

jQeinrtcf)  §eine  unb  bie  ^rauen.    By  Adolph  Kohut,  Berlin,  1888. 

352  PP- 

^einric^  §eine  al^  Strfjter  unb  SKenfcf^.  By  Max  Nietzki,  Berlin, 
1895.  1 70  pp. 

Henri  Heine :  Penseur.  By  Henri  Lichtenberger,  Paris,  1905.  250  pp. 

Portraits  et  souvenirs  litteraires.  By  Theophile  Gautier,  Paris,  1892. 
Heine,  pages  103-128. 

The  Life,  Works  and  Opinions  of  Heinrich  Heine.  By  William 
Stigand,  New  York,  1880.  Two  volumes;  the  work  has  been  unfavor- 
ably received. 

§einricf)  §eine§  2eben  unb  SBerfe.  By  Adolf  Strodtmann,  Hamburg, 
1884.  1172  pp. 

Life  of  Heinrich  Heine.  By  William  Sharp,  London,  1888.  An  ex- 
cellent popular  treatise.  Contains  an  elaborate  bibliography  compiled  by 
John  P.  Anderson  of  the  British  Museum. 

Sjb.  §eine§  ,,33ucf)  ber  Steber"  unb  fein  2?erf)altni§  jum  beutfdjen  33olf3= 
lieb.  By  Robert  Gotze,  Halle,  1895.  47  PP- 

The  Personal  and  Literary  Relations  of  Heinrich  Heine  to  Karl 
Immermann.  By  Grace  Mabel  Bacon,  University  of  Michigan,  1910. 
97  PP- 

[96] 


THE  SIDE  LIGHTS 

§einricf)  §eine3  SSertyaltniS  jur  Religion.  By  A.  C.  Kalischer,  Dresden, 
1890.  72  pp. 

iQeinrid)  §eine3  SSer^altni^  ju  Sorb  SJnron.  By  Felix  Melchior,  Berlin, 

1903.  169  pp. 

2)ie  Slufnatyme  Sorb  33pron§  in  2>eutfd)lanb  unb  fein  (Sinfluf;  auf  ben 
jungen  Seine.  ByWilhelm  Ochsenbein,  Bern,  1905.  228  pp. 

SeineS  2?erb,altni§  5x1  ©fjafefpeare.   By  Ernst  August  Schalles,  Berlin, 

1904.  68  pp. 

Seinrid)  §eine§  33ejie&ungen  jum  beutfcfjen  2RitteIalter.  By  Georg 
Miicke,  Berlin,  1908.  48  pp. 

Seinrid)  §eine  imb  bie  33ibel.  By  Heinrich  Reu,  Miinchen,  1909. 
39  (large)  pp. 

25te  bidfjteriftfie  ©pradEje  in  iQeineS  ,,33udE)  ber  Sieber".  By  Max  Seelig, 
Halle,  1891.  no  pp. 

§einrtd)  §eine  unb  ber  ;)ial>Lu  oon  Sad^ara^.  By  Gustav  Karpeles, 
Wien,  1895.  64  pp. 

2)er  3)id^ter  be§  Slomanjero.  By  R.  M.  Meyer,  in  "  Gestalten  und  Pro- 
bleme,"  1905.  Pages  151-163. 

tiber  ^Jtateng  birf)terticf)e  Sebeutung  mit  befonberer  Sejie^ung  auf 
JjbetneS  tlrteil  in  ben  3tetfebilbern.  By  Franz  Kern,  in  "Kleine  Schrif- 
ten,"  1895.  Volume  i,  pages  164-185. 

jQeinridj  &eine§  5ra9ment  "®er  9^abbi  won  Sod^arac^".  By  Lion 
Feuchtwanger,  Miinchen,  1907.  u6pp. 

Unterfuc^ung  jur  SBeurteilung  beg  jungen  £>eine  unb  jeiner  Sid^tung. 
By  Paul  Beyer,  Berlin,  1911.  84  pp. 

Uber  ba3  2Befen  ber  Seine 'fc^en  2)icf)tung.  By  Ernst  Gnad,  in  "Lit- 
terarische  Essays,"  Wien,  1891.  34  pp. 

jpeinricfj  £>etne.    By  Matthew  Arnold,  in  "  Essays  in  Criticism."  37  pp. 

fjbeine  unb  fetn  9Bi§.    By  Erich  Eckertz,  Berlin,  1908.   196  pp. 

German  Wit :  Heinrich  Heine.  By  George  Eliot,  in  her  "  Essays," 
1885.  53  pp. 

2)te  franjofifdje  Sitteratur  im  Urteile  ^einrid^  §eine§.  By  L.  P.  Betz, 
Berlin,  1897.  67  pp. 

£einrtcf)  §eine:  2luc^  ein  Senfmal.  By  Adolf  Bartels,  Dresden,  1906. 

375  PP- 

§einrtc^  Seine  unb  2Hfreb  be  ^uflet:  Sine  biograp^ifd^=litterarifd9e 
^SaraHele.  By  L.  P.  Betz,  Ziirich,  1897.  117  pp. 

liber  bie  oolfStumlidjen  ©lemente  in  ben  ©ebid^ten  £eine3.  By  Au- 
gust Walther  Fischer,  Berlin,  1905.  150  pp. 

©eburt§tag.    By  K.  E.  Franzos,  Berlin,  1900.   32  pp. 

[97] 


OUTLINE  OF  GERMAN  ROMANTICISM 

§einritf)  §eine  unb  ba3  beutfd)e  33olf3lieb.  By  R.  H.  Greinz,  Neu- 
wied,  1894.  96  pp. 

Henri  Heine,  Poete.    By  Jules  Legras,  Paris,  1897.    438  pp. 

$U  <0eine§  Sallaben  unb  9tomansen.    By  Oskar  Netolizka,  Kronstadt, 

1891.  31  pp. 

Uber  bie  ©influffe  ber  Komantif  auf  §einricf)  §eine.  By  Theodor 
Odinga,  Leipzig,  1891.  26  pp. 

Sie  freten  3if)r)tb,men  in  )£>eine3  9Jorbfeebilbern.  By  Paul  Remer, 
Heidelberg,  1889.  56  pp. 

Heine  and  Tennyson  :  an  Essay  in  Comparative  Criticism.  By  C.  W. 
Stark,  in  "  Haverford  Essays,"  1909.  29  pp. 

§einricf)  Joetneg  SBirfen  unb  ©treben.  By  Adolf  Strodtmann,  Ham- 
burg, 1857.  142  pp. 

§etne3  (Sinflufe  auf  ©djeffelg  3)tcb,tungen.  By  W.  C.  Sudel,  Leipzig, 
1898.  59  pp. 

S)er  ©til  ber  £>einefdE)en  3u9cni>ptofa.   By  Max  Ebert,  Berlin,  1903. 

56PP- 

liber  ben  ©eBraud)  be§  33eiraorte§  in  §etne3  ©ebid^ten.  By  James 
Alburn  Chiles,  University  of  Illinois,  1908.  112  pp. 

§eine  unb  2)itffelborf.   By  Eugen  Moos,  Marburg,  1908.  80  pp. 

35ie  5perfonenfa)ilberung  in  £>eine3  journaliftifcfien  Serid^ten.  By 
Walther  Bloemertz,  Dusseldorf,  1909.  70  pp. 

£>etnrid)  §eine^  3)Jemoiren.  Edited  by  Eduard  Engel,  Hamburg,  1884. 
Contains  poems,  prose  and  letters  then  unknown.  359  pp. 

£>einrtcf)  §eine  unb  unfere  Qeit.  By  Leo  Berg,  in  "  Zwischen  zwei 
Jahrhunderten,"  Frankfurt  am  Main,  1896.  26  pp. 

2>tnmorteUen  ^einricb,  §eines>.  By  Adolf  Strodtmann,  Berlin,  1871. 
216  pp. 

§einricfj  §etne§  SBer&tiltniS  jur  Religion.  By  Carl  Puetzfeld,  Berlin, 
1912.  154  pp.  Contains  bibliography,  pages  xi-xii. 

Jparrn.  @in  Sioman  aug  ber  erften  ^alfte  beS  neunje^nten  3fl^^un= 
bert^.  By  Eduard  Stilgebauer,  Konstanz,  1913.  451  pages.  This  is  a 
novel  with  Heine  and  those  who  associated  with  him  as  characters. 


[98] 


THE  SIDE  LIGHTS 

READING    LIST 
(Pagination  according  to  the  Elster  edition) 

1821.  2>Uttge  Setbett,  poems,  50  pages.  Divided  into  "  Traumbilder " 
(10),  "Lieder"  (9),  —  these  poems  are  simply  numbered; 
"  Romanzen  "  (20)  —  these  are  given  titles — and  "  Sonette"  (13). 

1823.  2Umanfor,  eine  Sragobie,  without  divisions  or  list  of  characters, 
52  pages.  The  drama  was  written  in  1820-21.  An  impossible 
tragedy,  reflecting  a  good  deal  of  Heine's  own  life. 

1823.  Snrifd)e3  ^nt^mejjo,  poems,  30  pages.  A  collection  of  65  poems 
without  titles.  So  called  because  they  were  first  published  in  a 
single  collection  between  his  two  dramas. 

1823.  JBiUiam  Jlatcliff,  Xragobte,  without  divisions,  but  contains  list  of 

characters,  34  pages.  Written  in  the  last  three  days  of  January, 
1822.  The  plot  is  Heine's  own  invention  in  the  main.  The 
drama  was  hissed  off  the  stage  at  its  unique  performance  in 
Braunschweig  on  August  20,  1823. 

1824.  2)ie  Jjbettnfehr,  poems,  56  pages.    A  collection  of  93  poems,  five 

of  which  are  given  titles:  "  Gotterdammerung,"  "  Almansor," 
"  Ratcliff,"  "  Donna  Clara,"  "  Die  Wallfahrt  nach  Kevlaar." 
The  collective  title  owes  its  origin  to  the  fact  that  the  majority 
of  the  poems  were  written  after  Heine's  return  home  from  the 
University  of  Berlin.  They  were  first  published  at  Hamburg 
in  1826. 

1824.  2lu§  ber  §arjretfe,  poems,  12  pages.  A  collection  of  7  poems, 
including  "  Der  Hirtenknabe  "  and  "  Die  Use." 

1826.  Sic  Slorbfee,  poems,  34  pages.  A  collection  of  22  poems  with  titles. 

1827.  Slid)  ber  iHeber,  collective  title  of  the  above-listed  poems.    It  is 

this  collection  that  made  Heine  famous  and  made  the  year 
1827,  or  1826,  a  year  from  which  to  date  a  new  genius  in  Ger- 
man literature. 

1830.  Steifebtlber,  descriptions  of  travel  in  prose  with  interspersed 
lyrics,  490  pages.  Divided  into  four  parts.  Begun  in  1824  and 
finished  in  1830.  The  second  part,  "Die  Bader  von  Lucca," 
is  dedicated  to  Immermann. 

1832.  j5rd|t}6ftjd)e  guftcinbe,  prosej  IQ^  pages.  A  collection  of  reports 
which  Heine  wrote  for  the  Augsbitrger  Allgemeine  Zeitung 
from  December  1831  to  September  1832.  Heine  moved  to 
Paris  in  June,  1831. 

1834.  2tii3  ben  2Jlemoiren  be§  §errn  oon  ©djnabeleroopSfi,  prose,  51  pp. 

[99] 


OUTLINE  OF  GERMAN  ROMANTICISM 

1835.  $ur  ©efrf)id;te  ber  9Jeligion  unb  ^ilofop&ie  in  2)eutfdE)lanb,  136  pp. 

1835.  ©lementargeifter,  prose,  60  pp. 

1838.  ©fyafefpeareS  9Mbcf)en  unb  §rauen,  prose,  120  pages.  Written 
for  a  French  bookseller;  a  delightful  bit  of  popular  criticism. 

1840.  Subrotg  33orne,  scurrilous  and  at  times  indecent  criticism  in  prose, 
132  pp. 

1840.  33er  Rabbi  von  33adE)aracIj,  ein  ^toswent.  Legend  in  prose,  38 
pages.  Dedicated  to  Heinrich  Laube.  This  is  one  of  Heine's 
most  important  works;  it  was  his  "  Schmerzenskind."  Begun 
early  in  life  ;  he  destroyed  part  of  it  and  never  found  the  op- 
portunity to  finish  it. 

1843.  Sltttt  £roll,  humorous,  satirical,  doctrinaire  poem,  68  pages. 
Divided  into  27  sections,  each  called  a  "  Kaput  ";  the  last  one 
is  "  dedicated  "  to  Varnhagen  von  Ense.  Written  in  unrhymed 
strophes,  as  follows  : 


SRoncetiol,  bu  ebleg 
2Benn  idi  beinen  SRamen  b,ore, 
iBe&t  unb  buftet  mit  im  £>erjen 
2)ie  toerfdjollene  blaue  Slume! 

1844.  2)eutfdE)lanb,  ein  2BintermardE)en,  satirical,  humorous,  doctrinaire 
poem,  64  pages.  Divided  as  is  "  Atta  Troll  "  and  written  in 
the  same  sort  of  strophes,  except  for  the  rhyme  and  metre,  as 
follows  : 

3m  traurigett  9Konat  MobemBer  loor'8, 

3>ie  Sage  nmrben  triiber, 

®er  SBinb  ri&  Don  ben  SSaumen  boS  2au6, 

Sa  retft'  ic5  naclj  ®entfc^Ianb  Ijiniiber. 

Heine  paid  Germany  a  visit  in  1843. 

1851.  2)er  Softer  gauft,  ein  Xanjpoem,  a  prose  sketch  in  5  acts,  15  pp. 
1851.   SRomcmjero,  poems  that  have  a  connection,  152  pages.    Divided 

into  three  books  :  "  Historien,"  "  Lamentationen,"  "  Hebrai- 

sche  Melodien." 

1853.  2)ie  ©otter  im  ©r,il,  prose,  24  pp. 

1854.  ©eftanbniffe,  confessions  in  prose,  60  pp. 

1854.  Sutejia  :  S3eridE)te  iiber  ^Solitif,  ^unft  unb  SSoIfgleben,  prose,  236  pp. 

1856.  SJfemoiren,  prose,  70  pp. 

In  addition  to  the  above,  Heine  wrote  many  poems,  some  gen- 
eral articles  under  the  collective  title  "  Der  Salon,"  and  a  num- 
ber of  reviews,  one  of  the  best  of  which  is  his  introduction  to 
"  Don  Quichotte." 

[100] 


THE  SIDE  LIGHTS 

GEORG  FRIEDRICH   RUDOLF  THEODOR  HERWEGH 

Born  May  31,  1817,  at  Stuttgart.  Father  an  impecunious 
innkeeper.  Lived  a  joyless  childhood.  Always  somewhat  nerv- 
ous and  petulant.  Had  no  brothers,  but  one  sister,  five  years  his 
junior.  His  parents  separated  October  31,  1832.  A  brilliant 
boy,  passed  the  final  examination  at  the  gymnasium  in  Stuttgart 
when  he  was  fourteen.  A  Swabian  in  politics,  poetry,  dress, 
friendship  and  speech.  Attended  the  seminary  at  Maulbronn. 
A  great  reader,  fond  of  Aristophanes  and  histories  of  the  French 
Revolution.  Disliked  his  teachers.  Entered  the  seminary  at 
Tubingen  (Oct.  23,  1835)  to  study  theology,  dismissed  with  a 
sharp  reproval  (Aug.  5,  1836).  Then  studied  law  at  Tubingen  ; 
returned  home  at  Easter,  1837,  determined  to  become  a  poet. 
Helped  Lewald  with  the  publication  of  ^Europa.  Obliged  to 
enlist  March  7,  1838,  got  into  trouble  and  was  finally  discharged, 
or  rather  he  escaped,  from  the  army  and  went  to  Switzerland 
in  July,  1839.  Wrote  poetry.  In  Paris  from  1841  to  1842. 
Met  Heine  and  Dingelstedt.  Started  in  the  autumn  of  1842 
on  a  journey  through  Germany.  Honored  everywhere.  Met 
(Nov.  6,  1842)  Emma  Siegmund  in  Berlin,  became  engaged 
to  her  (Nov.  13^  1842).  Married  her  March  8,  1343.  -  Had  an 
audience  in  Berlin  with  Friedrich  Wilhelm  IV  —  was  then  ban- 
ished from  Germany  and  returned  to  Switzerland ;  became  a 
Swiss  citizen.  Returned  to  Paris  in  1843,  met  Heine,  Beranger, 
Proudhon,  George  Sand  and  Liszt.  Studied  botany  and  read 
Ludwig  Feuerbach.  Broke  away  from  religion.  Took  part  in 
the  French  revolution  of  1848.  Became  a  politician  and  read 
"  Don  Quixote,"  led  a  party  of  Republicans  through  southern 
Germany  and  escaped  to  Paris  in  1849.  Returned  to  Switzer- 
land and  met  Richard  Wagner,  Mommsen,  Gottfried  Keller 
and  others.  Went  in  1861  to  Karlsbad  for  treatment.  Met 
Meissner  and  Laube.  He  thought  of  various  undertakings, 
/  finished  by  translating  eight  of  Shakespeare's  dramas.  Lived 
from  1866  till  his  death  in  Baden-Baden.  An  impatient 

[101] 


OUTLINE  OF  GERMAN  ROMANTICISM 

democrat.  Hated  the  idea  of  the  German  Empire.  The  inscrip- 
tion on  his  monument  pictures  him  as  "  persecuted  by  the 
great,  hated  by  the  servile,  misunderstood  by  the  majority,  loved 
by  his  own."  Died  in  Baden-Baden,  April  7,  1875. 

BIBLIOGRAPHY 

Jjerroegl)^  SBerfe.  Edited  by  Hermann  Tardel,  3  parts  in  i  volume, 
Berlin  (Bong),  no  year  (recent).  Contains  good  general  and  special 
introductions. 

©eorg  Sberroegl).  ©etn  Seben  unb  fein  ©djaffen.  By  Adolf  Trampe, 
Leipzig,  1910.  132  pp.  Bibliography,  pp.  vi-xi. 

Le  Poete  Georges  Herwegh.  By  Victor  Fleury,  no  place,  no  year 
(recent).  397  pp.  A  very  thorough  study.  Bibliography,  pp.  371-375. 

READING    LIST 

1841.  ©ebtrfjte  eine§  Sebenbigen  (dating  back),  171  pp. 

1843.  ©inunbjroanjtg  93ogen  au3  ber  ©diraeij.    Miscellaneous  articles 

by  Herwegh,  336  pp. 
1877.  SReue  ©ebicfjte  »on  ©eorg  Jjberroegfj.   Published  after  his  death, 

Zurich,  291  pp. 
1896.  ©ebicfyte  eine<a  Sebenbtgen.    Twelfth  edition,  Leipzig,  264  pp. 

Some  of  his  best  known  poems  are  2ln  ben  $omg  von  $reu= 

fjen ;  2)<x3  SflljeinroeinUeb ;  %d)  tnocfjte  fjingefyen  roie  bag  2lbenb= 

rot ;  35tc  bange  Wafyt  ift  nun  Return. 


ERNST  THEODOR  WILHELM  (AMADEUS)   HOFFMANN 

Born  January  24,  1776,  at  Konigsberg.  Parents  came  from 
families  of  distinguished  lawyers,  father  was  dissipated  and 
mother  eccentric;  they  separated  in  1779  and  the  boy's  train- 
ing was  directed  by  his  maternal  uncle,  Otto  Dorfer.  He  lived 
a  very  unhappy  life,  full  of  monotony  and  devoid  of  any  sort  of 
inspiration.  Attended  the  German-Reformed  school  at  Konigs- 
berg (1783-91),  studied  law  at  Konigsberg  (1792-95),  passed 
his  examinations  July  22,  1795,  became  barrister  at  Konigsberg 
(1795-96),  referendary  at  Glogau  (1796-98),  notary  at  Berlin 
(1798-1800),  assessor  in  Posen  (1800-02).  Married  M.  Th.  M. 

[  I021 


THE  SIDE  LIGHTS 

Rorer  (Trczynska),  of  Polish  descent,  in  1802.  Lived  a  dissolute 
life  in  Posen,  and  was  then  exiled  to  Plozk  (1802-04)  because 
of  cartoons  of  public  men;  transferred  to  Warsaw  (1804-07), 
then  a  part  of  Prussia.  Lost  his  government  position  after  the 
battle  of  Jena  and  then  spent  seven  unhappy  years  in  Berlin 
(1807-08),  as  director  of  an  orchestra  at  Bamberg  (1808-13), 
and  in  Leipzig  and  Dresden  (1813-14).  Regained  his  position 
with  the  government  after  the  War  of  Liberation  and  returned 
to  Berlin,  where  he  lived  the  rest  of  his  days,  immortalizing  the 
wine  restaurant  of  Lutter  and  Wegener,  writing  stories,  and 
performing  good  service  as  a  judge;  he  favored  Jahn  in  the 
attempts  that  were  made  to  prove  Jahn's  introduction  of  ath- 
letics a  bit  of  anarchy.  Utterly  improvident,  he  turned  night  . 
into  day  and  day  into  night,  and,  talented  and  precocious  indi- 
vidual that  he  was,  he  remained  a  dilettant  in  life  and  art.  His 
vocation  was  law ;  his  avocation  literature ;  his  hobbies  music, 
drawing,  and  architecture ;  his  weakness  intemperance ;  his  L 
strength  versatility.  He  has  had  unmistakable  influence  on 
Grabbe,  Alexis,  Hauff,  Solitaire,  H.  C.  Andersen  and  Gott- 
fried Keller.  Goethe  disliked  him,  and  Carlyle,  though  he 
translated  him  into  English,  paid  him  only  left-handed  compli- 
ments. He  has  been  frequently  translated  into  French  and 

„ influenced  Hugo,  Dumas,  Gautier,  De  Nerval,  Balzac  and  others. 

He  composed  music  that  received  the  unstinted  approval  of 
Weber  and  gave  themes  to  Delibes,  Offenbach,  Schumann, 
Wagner,  Tschaikowsky.  He  himself  was  fond  of  J.  S.  Bach, 
Cherubini,  Spontini,  Mehul  and  Gluck,  and  hated  Paer.  His 
opera  "Undine"  (1816)  can  be  said  to  be  the  first  music-drama 
after  the  fashion  of  Weber  and  Wagner.  His  music  to  Brentano's 

••".  ."Lustige  Musikanten"  has  also  been  highly  praised.  He  was  \^ 
influenced  by  Rousseau,  Wiegleb,  Jean  Paul,  Novalis,  Brentano, 
and  the  Schlegels.  Much  difference  of  opinion  as  to  his  merits : 
some  say  he  had  the  making  of  the  poet  in  him,  but  that  he 
remained  undeveloped.  Others  compare  him  with  Kleist — to 
whom  he  bears  some  resemblance  —  and  thus  contend  that 


he  was  not  a  poet.  The  comparison  of  Hoffmann  with  Poe 
has  been  made  frequently,  generally  to  bring  out  the  point  that 
the  weird,  fantaslic.^and ..supernatural  of  neither  is  convincing. 
V  His  works  abound  in  doubles ;  somebody  is  always  being  trans- 
formed/He had  no  lyric,  no  dramatic,  gift  and  but  little  appre- 
ciation of  nature.  That  he  was  so  profoundly  influenced  by 
Jacques  Callot  (1592-1635)  and  Jacques  Cazotte  (1720-92) 
gives  a  fair  idea  as  to  what  he  was  like.  He  said  of  himself 
that  in  him  nature  tried  a  new  recipe  and  failed.  Nevertheless, 
he  is,  next  to  Heine  and  Kleist,  the  most  alive  to-day  of  all  the 
^Romanticists.  His  life  was  one  long  conflict  between  life  and/--'' 
\\  art,  and  his  works  show  it.  He  pictured  again  and  again  the 
struggles  between  the  man  making  a  living  and  the  man  court- 
ing the  muse.  He  was  afraid  of  death  and  afraid  to  grow  old  ;/^- 
he  painted  death  in  the  form  of  old  hags  —  his  works  abound 
in  such  characters  —  and  tried  to  find  youth  in  wine.  Of  him 
Carlyle  said :  "  His  life  was  disjointed :  he  had  to  labor  for  his 
bread,  and  he  followed  three  different  arts ;  what  wonder  that 
in  none  of  them  he  should  attain  perfection.  ...  As  a  poet  IS 
he  aimed  but  at  popularity,  and  has  attained  little  more.  His 
intellect  is  seldom  strong,  and  that  only  in  glimpses ;  his  abun- 
dant humor  is  too  often  false  and  local ;  his  rich  and  gorgeous 
fancy  is  continually  distorted  into  crotchets  and  caprices.  In 
fact  he  elaborated  nothing ;  above  all,  not  himself."  He  died 
at  Berlin,  June  25,  1822. 

BIBLIOGRAPHY 

®.  X.  21.  Sjboffmann'S  gefammelte  ©djrtften,  12  volumes,  Berlin,  1845. 
In  good  print,  without  introductions,  with  excellent  illustrations  by 
Theodor  Hosemann. 

©.  Xfy.  21.  $offmann§  cut§geroaf)lte  SDBerfe,  4  volumes  (Cotta),  with  an 
introduction  by  Joseph  Lautenbacher  (Vol.  I,  pages  1-50),  Stuttgart  and 
Berlin,  1892. 

@.  X.  21.  §offmann§  famtltcfje  2Berfe,  1 5  volumes  in  4,  with  an  intro- 
duction (pages  i-cx)  by  Eduard  Grisebach,  Leipzig  (Hesse),  1899.  The 
best  eclectic  edition. 

[I04] 


THE  SIDE  LIGHTS 

2lu3  bent  Seben  jroeter  Sifter :  Srnft  Jfjeobor  2BHf)elm  fpoffmann'3 
unb  §riebrtcf;  ©ottlob  SBefcel'3.  By  Z.  Funck,  Leipzig,  1836.  315  pp. 
Hoffmann,  pages  1-172.  An  old-fashioned  treatment. 

(S.  Z.  21.  £offmann3  Seben  unb  Sfacfylaf!.  By  Julius  Eduard  Hitzig, 
Stuttgart,  1839.  507  pp.  Contains  letters,  drawings,  facsimiles,  etc.,  but 
is  an  old-fashioned  biography,  formless  and  nattering. 

©.  X.  21.  ^offntann.  @ein  Seben  unb  feme  SCerfe.  By  Georg  Ellinger, 
Hamburg  and  Leipzig,  1894.  230  pp.  A  critical  study. 

Contes  posthumes  d'Hoffmann,  traduits  par  Champfleury,  Paris,  1856. 
323  pp.  Pages  i  to  1 66  deal  with  Hoffmann's  life. 

Poetes  et  Nevroses.  By  Arvede  Barine,  Paris  (2d  ed.),  1908.  Treats 
Hoffmann  (pages  1-58),  De  Quincey,  Poe,  De  Nerval. 

©.  £.  21.  £>offmann§  (Srja&lungen  in  ^ranfreic^.  By  Gustav  Thurau, 
Konigsberg,  1896.  48  pp. 

The  Influence  of  E.  T.  A.  Hoffmann  on  the  Tales  of  Edgar  Allen  Poe. 
By  Palmer  Cobb,  Chapel  Hill,  North  Carolina,  1908.  104  pp. 

©.  £.  21.  Jpoffmann :  ©tubien  ju  feiner  $erjonlid)fettunb  feinen  JBerfen. 
By  Arthur  Sakheim,  Leipzig,  1908.  291  pp. 

SDie  Sebeutung  beg  afluftfalifrfjen  unb  ^fuftifdjen  in  6.  X.  21.  £off= 
mann^  literarifdjem  @d)affen.  By  Carl  Schaeffer,  Marburg,  1909. 
56  pp. 

SWenfcb/en  unb  aftadjte.  2lu§gen)db/[te  ©rjablungen  Don  ©.  £.  21.  ^>off= 
mann.  Miinchen,  1911.  538  pp.  In  the  "Biicher  der  Rose"  series, 
Volume  6.  Contains  10  of  Hoffmann's  best  known  tales,  splendidly 
printed.  Cheap  but  very  good.  Handiest  place  to  get  a  general  idea 
of  Hoffmann. 

@.  £f).  21.  SboffmamtS  Dper.  By  Martin  Ehrenhaus,  1913.  4  pp.  In 
Die  Schanbiihne,  January,  1913.  A  short  but  instructive  article. 

jpanbbucf)  jur  ©efdjtcfjte  ber  beutfdjen  Siteratur.  By  Adolf  Bartels, 
Leipzig  (2d  ed.),  1909.  859  pp.  Though  uncritical  and  occasionally 
incorrect,  this  manual  should  be  on  every  student's  desk;  it  is  a  con- 
venient place  to  find  the  main  data.  It  is  especially  good  for  Hoffmann, 
pages  394  to  398,  giving  the  exact  place  of  appearance  of  each  of 
Hoffmann's  works. 

READING    LIST 

1809.  SRitter  ©ludt,  short  story,  deals  with  Gluck,  and  with  Hoffmann's 
ideas  of  music,  first  appeared  in  Friedrich  Rochlitz's  Allge- 
meine  Alusikzeitung,  Leipzig,  18  pp. 

1812.  Son  2>ucm,  eine  fabelhafte  33egebenl)eit,  short  story,  13  pp. 


OUTLINE  OF  GERMAN  ROMANTICISM 

1813.    35et  golbene  £opf,  considered  by  many  his  best  work,  fairy  tale, 

80  pp. 
1816.   25a§  2J?aiorat,  one  of  the  "  Nachtstucke,"  influenced  by  Schiller's 

"  Rauber,"  77  pp. 
1816.  JDie  (SUrjre  be£  SeufelS,  novel,  282  pp. 

1816.  9tat  ftrefpel,  translated  into  English  and  published  in  New  York 

under  the  title  "The  Cremona  Violin,"  basis  of  Act  III  of 
Offenbach's  opera,  "  Les  Contes  d'Hoffmann,"  short  story, 

22  pp. 

1817.  £)er  ©anbmann,  fairy  tale,  basis  of  Act  I  of  Offenbach's  opera 

and  of  Delibes'  ballet  "Coppelia,"  47  pp. 

1817.  ©efcf)tcl)te  t)om  cerlorenen  ©ptegelbUb,  the  counter-piece  to  Cha- 

misso's  "  Peter  Schlemihl,"  basis  of  Act  II  of  Offenbach's 
opera,  short  story,  22  pp. 

1818.  $letn=3acl)e§,  genannt  ginnober,  in  part  the  basis  of  the  Prologue 

and  Epilogue  of  Offenbach's  opera,  fairy  tale,  100  pp. 

1819.  SWeifter  SWavtin  ber  $iifner  unb  feme  ©efellen,  a  picture  of  medi- 

aeval artisan  life,  different  from  any  other  of  Hoffmann's  works, 

short  story,  90  pp. 
1819.  J)a3  j^rciulein  Don  ©Gilbert),  considered  by  many  his  best  work, 

the  figure  of  Cardillac  said  to  be  his  best  drawn  character, 

short  story,  71  pp. 
1821.  Sebenganfto^ten  be3  $ater3  2Jhmr,  nebft  fragmentarifdjer  33togra= 

pf)te  beg  ^apellmeifter^  ^of)anneg  ^reBler  (Hoffmann  himself), 

incomplete  novel  laid  out  on  a  pretentious  plan,  386  pp. 

1821.  UZufjfnacIer  unb  3Jtaufefonig,  fairy  tale,  basis  of  Tschaikowsky's 

"Nut-Cracker  Suite,"  58  pp. 

1822.  3)e3  33etter3  ©dfenfter,  dictated  by  Hoffmann  to  his  attendant 

while  on  his  deathbed,  short  story,  25  pp.  Aside  from 
"Meister  Martin"  all  of  Hoffmann's  works  resemble  each 
other.  Some  of  the  other  titles  are  "  Der  Artushof,"  "  Ignaz 
Denner,"  "  Die  Jesuitenkirche  in  G,"  "  Das  Sanctus,"  "  Das 
ode  Haus,"  "  Das  Geliibde,"  "  Seltsame  Leiden  eines  Theater- 
direktors,"  "  Die  Bergwerke  zu  Falun,"  "  Die  Automate," 
"  Doge  und  Dogaresse,"  "  Der  Dichter  und  der  Komponist," 
"  Signer  Formica,"  "  Meister  Floh,"  "  Datura  Fastuosa." 


[106] 


THE  SIDE  LIGHTS 

KARL  LEBRECHT  IMMERMANN 

Born  April  24,  1796,  at  Magdeburg.  His  oldest  known  an- 
cestor fought  as  sergeant  in  the  Swedish  army  during  the  Thirty 
Years'  War.  Father,  stern  and  bureaucratic,  married,  at  the 
age  of  forty-five,  Friederike  Wilda,  then  eighteen.  Mother, 
colorless  and  retiring,  played  a  minor  role  in  his  life.  Studied 
(1807-13)  at  the  gymnasium  in  Magdeburg,  then  for  two  years 
interruptedly  at  Halle  (1813-17).  Fought  at  Belle  Alliance, 
entered  Paris  with  the  victorious  army,  was  discharged  as  second 
lieutenant.  Suffered  from  unrequited  love  and  then  lived  (1821— 
39)  in  unnatural  relations  with  Grafin  Elisa  von  Ahlefeldt,  the 
divorced  wife  of  Adolph  von  Liitzow.  Married  Marianne  Nie- 
meyer  (1839).  Practiced  law  at  Magdeburg  (1817-19),  Miinster 
(1819-24),  Magdeburg  (1824-27),  Diisseldorf  (1827-40). 
Rendered  valuable  service  to  the  German  stage  by  his  man- 
agement of  the  Stadttheater  at  Diisseldorf  (1832-37).  Fre- 
quent traveller,  omnivorous  reader,  able  critic,  prolific  writer  of 
poor  lyrics,  mediocre  dramas,  good  epics.  Irreconcilable  discord 
in  his  character  and  inconsistency  in  his  works.  Brought  up  in 
rationalistic  surroundings,  and  one  of  the  first  of  the  realists, 
his  relation  to  Romanticism  was  nevertheless  intimate  and 
imitative,  sometimes  spurious,  incoherent  but  lifelong.  Died 
August  25,  1840,  at  Diisseldorf. 

BIBLIOGRAPHY 

3»mmermann3  3DcrIe.  Edited  by  Robert  Boxberger,  20  parts  in  8 
volumes,  Berlin,  Gustav  Hempel,  1883. 

3mmermann3  2Berfe.  Edited  by  Harry  Maync,  5  volumes,  Leipzig 
and  Wien,  1906. 

3mmermann§  2Berfe.  Edited  by  Werner  Deetjen,  3  volumes,  Berlin 
(Bong),  no  year  (1912).  Contains  biographical  introduction,  Volume  I, 
pages  i  to  Ixxxvii,  and  special  introductions  to  individual  works. 

$arl  5Smtne*mann.  ©ein  Seben  unb  feme  SBerfe.  Edited  by  Gustav 
zu  Putlitz,  2  volumes,  Berlin,  1870.  697  pp. 

[I07] 


OUTLINE  OF  GERMAN  ROMANTICISM 


(Sine  ©ebatf)tm3ftf)rift  jum  100.  ©eburtStage  be§ 
3)tdE)ter3.  By  R.  Fellner,  J.  Geffcken,  O.  H.  Geffcken,  R.  M.  Meyer 
and  Fr.  Schultess,  Hamburg  and  Leipzig,  1896.  220  pp. 

!ymmermann3  2JJerlin.   By  Kurt  Jahn,  Berlin,  1899.   128  pp. 

2>tnmermcmn3  3>ugenbbramen.  By  Werner  Deetjen,  Leipzig,  1904. 
200  pp. 

SmmermannS  2Beltanftf)auung.   By  Sigmund  von  Lempicki,  Berlin, 

1910.  136  pp. 

Karl  Lebrecht  Immermann:  a  Study  in  German  Romanticism.  By 
Allen  Wilson  Porterfield,  New  York,  1911.  153  pp. 

2>ttimcrmann3  Sriftan  unb  Sfolbe.     By  Max  Szymanzig,  Marburg, 

1911.  258  pp. 

3)er  Dberfjof.  Edited  by  Hermann  Muchau,  Leipzig,  1901.  255  pp. 
Immermann  never  wrote  a  separate  work  with  this  title.  Editors  have 
simply  taken  certain  chapters  from  "  Miinchhausen  "  and  published 
them  independently.  Some  editions  contain  about  75  pages,  others 
375  pages.  This  is  the  one  work  by  which  Immermann  is  now, 
known. 

liber  Zefynil  unb  ©til  ber  3?omane  unb  -ftooellen  2>mmermann3.  By 
Leo  Lauschus,  Berlin,  1913.  136  pp. 

READING    LIST 

1825.  ©arbenio  unb  ©elinbe,  tragedy,  85  pp. 

1828.  $atfer  ^nebrid)  ber  3roeite,  tragedy,  117  pp. 

1829.  Sultfttnttfjen,  satirical  epic,  108  pp. 

1830.  ©ebtdfjte,  244  pp.    Immermann's  poems,  with  but  few  exceptions, 

are  weak.  He  published  also  at  Hamm,  in  1822,  ©ebidjte,  184 
pages,  with  3JiuftfbetIagen  by  Wachsmann.  The  best  of  his 
poems  are  found  in  the  Maync  edition. 

1832.  -merlin,  dramatic  poem,  108  pp. 

1833.  2lnbrea§  §ofer,  tragedy,  79  pp. 
1835.  Ste  ©pigonen,  novel,  674  pp. 

1839.  -IHiincfjfjaufen,  novel,  699  pp. 

1840.  SJletttOrabilien,  autobiography  and  criticism,  699  pp. 

1841.  £rtftan  unb  Sfolbe,  epic  (fragment),  271  pp. 


[108] 


THE  SIDE  LIGHTS 

JUSTINUS  ANDREAS  CHRISTIAN  KERNER 

Born  September  18,  1786,  at  Ludwigsburg,  the  son  of  an 
official,  related  to  Hauff  and  Uhland.  Studied  in  the  schools 
of  Ludwigsburg,  Knittlingen  and  Maulbronn,  entered  (1804) 
the  University  of  Tubingen  to  study  medicine.  Associated  at 
Tubingen  with  Uhland,  Karl  Mayer  and  Varnhagen  von  Ense, 
with  all  of  whom  he  collaborated  on  the  Sonntagsblatt  fur  ungebil- 
dete  Stdnde  (1807).  Took  his  medical  degree  in  1808.  Travelled 
(1809-12),  visiting  Berlin,  Hamburg,  Wien,Miinchen,  principally 
in  the  interest  of  his  studies  in  medicine.  Settled  down  in 
Welzheim  in  1812,  where  he  married  Friederike  Ehemann 
in  1813.  Became  official  physician  in  1815  in  Gaildorf,  and 
in  1818  was  transferred  to  Weinsberg,  where  he  lived  the  rest 
of  his  life.  He  made  occasional  excursions  in  the  summer  to 
Baden-Baden,  and  once  took  a  journey  down  the  Rhine  and 
went  to  Helgoland.  He  was  obliged  to  retire  in  1851  owing 
to  almost  total  blindness.  Wife  died  in  1854.  Built  the  popular 
"  Kernerhaus  "  in  Weinsberg  and  became  famous  for  his  hospi- 
tality. Known  personally  to  almost  all  the  Romanticists  of  the 
time.  The  oldest  and  most  talented  poet  of  the  Swabian  circle. 
A  dreamy,  melancholy  strain  in  his  lyrics.  A  popular  and  suc- 
cessful physician,  saw  much  suffering  and  portrayed  suffering 
frequently.  Became  interested  in  mesmerism,  somnambulism 
and  the  like,  really  believed  in  ghosts  and  magnetic  cures.  Studied 
the  case  of  Friederike  Hauffe  and  wrote  from  it  his  "  Seherin." 
Represents  in  life  and  practice  what  a  number  of  the  Roman- 
ticists theorized  about  —  the  occult.  Died  at  Weinsberg,  Febru- 
ary 22,  1862. 

BIBLIOGRAPHY 

3>uftinu3  $erner§  33riefroed)fel  mit  feinen  ^reunben.  Edited  by  his 
son  Theobald  Kerner,  annotated  by  Ernst  Miiller.  Two  volumes,  Stutt- 
gart, 1897.  A  mine  of  detailed  information  about  the  men  and  poets  of 
the  day,  valuable  not  only  for  Kerner  but  also  for  his  numerous  friends. 

SaS  £ernerf)au§  unb  feme  ©afte.  By  Theobald  Kerner  (died  1907), 
Stuttgart,  1897.  An  extremely  interesting  book.  396  pp. 

[  109] 


OUTLINE  OF  GERMAN  ROMANTICISM 

2>uftinu3  Werner.  By  Aime  Reinhold,  Tubingen,  1886.  172  pp.  Con- 
tains a  handy  chronological  list  of  Kerner's  works  and  publications  — 
19  entries  from  1807  to  1859. 

©efcl)id)te  ber  Snrif  3ufttnu§  $erner3.  By  Johannes  Richert,  Berlin, 
1909.  60  pp.  (Teildruck.) 

2>uftinu§  Werner  al3  3lomanti!er.  By  Franz  Heinzmann,  Tubingen, 
1908.  48  pp. 

SufttrmS  $erner§  auSgettmfilte  poetijd)e  SBerfe.  Two  volumes,  Stutt- 
gart, 1879.  The  most  convenient  place  to  read  Kerner's  poems. 

READING    LIST 

1829.  2)te  ©efterin  Don  ^Sreoorft,  prose  account  of  observations  made 
in  a  peculiar  medical  case,  dedicated  to  G.  H.  Schubert,  594  pp. 

1849.  3)fl3  Silberbud)  au§  metner  ^nabenjett  (1786-1804),  294  pp. 

1856.  $ranj  Slnton  2fte§mer,  ber  (Sntbecfer  beg  t&iertfcf)en  9Kagneti3mu3, 
prose  account  of  the  father  of  mesmerism,  212  pp. 

1859.  ©ebto^te,  dating  back  to  1807,  about  300  pp.  Best  known  poems: 
2)er  fcfjroere  Xraum ;  SBunberlieb;  Ser  reicf)fte  "ftntft ;  Ser2Ban= 
berer  in  ber  ©agemii^le;  ^m  3Binter;  2)te  fd)it)dbiftt9e  Sttf)ter= 


BERND  HEINRICH  WILHELM  VON  KLEIST 

Kleist  was  born  at  Frankfurt  an  der  Oder,  October  18,  1777. 
He  was  the  son  of  Joachim  Friedrich  von  Kleist,  an  army  officer, 
and  Juliane  Ulrike  von  Pannwitz.  His  father  died  June  18, 
1788,  his  mother  February  3,  1793.  We  know  but  little  of  his 
father,  who  seemed  to  have  little  interest  for  anything  outside 
of  the  army,  and  possibly  less  about  his  son's  youth ;  it  is  even 
a  question  as  to  whether  he  was  born  October  18  or  October  10. 
Of  his  mother  he  always  spoke  with  profound  respect.  He  was 
the  third  of  five  children  by  a  second  marriage  and  was  supported 
and  encouraged  by  his  half  sister,  Ulrike,  a  masculine  sort  of 
unwomanlike  woman  (1774-1849).  He  had  a  private  tutor  in 
his  youth,  Martini  by  name,  since  it  would  have  been  undignified 
for  the  son  of  an  army  officer  to  attend  the  regular  gymnasium. 

[no] 


THE  SIDE  LIGHTS 

Martini  spoke  of  Kleist  as  ein  ntc&t  511  bdmpfcnbcr  gcuer= 
geift.  After  the  death  of  his  father  he  came  to  Berlin  and 
studied  in  the  home  of  the  preacher  of  the  French  §ofpital= 
fircfye,  Samuel  Heinrich  Catel,  a  man  of  some  literary  gifts,  who 
taught  Kleist  many  things,  including  French.  In  1792  he 
entered  the  army  as  a  corporal,  took  part  in  the  campaigns 
along  the  Rhine,  1793,  1794,  !795>  and  became  second  lieu- 
tenant, March  7,  1797.  In  the  summer  of  the  same  year  he 
made  a  journey  through  the  Harz  with  his  friend,  Riihle  von 
Lilienstern.  Army  life  became  more  and  more  distasteful  to 
him ;  he  wanted  to  act  as  a  human  being,  but  was  obliged  to 
act  as  an  officer.  Moreover,  he  was  being  drawn  to  intellectual 
pursuits.  He  secured,  therefore,  his  discharge  from  the  army 
and  entered,  at  Easter,  1799,  the  university  of  his  native  town 
to  study  law,  but  devoted  the  most  of  his  time  to  philosophy, 
physics  and  mathematics.  It  <s^as  especially  the  study  of  Kant's— 
jphilogophy^  with  its  categorical  imperative  and  its  9lUe3  SSiffen 
ift  ®iittftt)crf,  that  drove  Kleist  almost  to  the  point  of  complete 
despair.  While  a  student  at  Frankfurt  an  der  Oder  he  became 
engaged  to  Wilhelmine  von  Zenge,  the  daughter  of  a  general. 
She  was  born  August  26,  1780,  and  died  April  25,  1852.  In 
the  summer  of  1800  he  made  a  mysterious  journey  to  Wiirzburg 
in  the  company  of  his  friend  Brockes.  No  one  knows  why  he 
went;  many  have  imagined  this  and  that.  In  1801  he  started 
with  his  sister  Ulrike  to  Paris,  where  they  arrived  July  10,  and 
from  which  place  they  departed,  thoroughly  displeased,  in  No- 
vember of  the  same  year.  He  went  then  to  Switzerland  to 
become  a  farmer  after  a  fashion;  it  is  possible  that  he  thought 
he  might,  in  this  way,  become  an  undisturbed  poet.  In  Bern  he 
met  Heinrich  Zschokke,  Heinrich  Gessner  and  Ludwig  Wieland. 
After  illness  and  other  misfortunes,  including  the  failure  of  his 
agricultural  scheme,  he  returned  to  Germany  in  1802;  went  to 
Weimar,  where  he  met  Wieland,  who  encouraged  him  with  much 
praise ;  that  he  met  at  the  same  time  Goethe  and  Schiller  is 
extremely  probable.  In  1802  he  broke  his  engagement  with 

[in] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Wilhelmine  von  Zenge.  During  the  last  nine  years  of  his  life 
he  led  an  unsteady  and  wandering  existence.  In  1803  we  find 
him  the  guest  of  Wieland  at  Ossmannstedt;  from  there  he  went 
to  Leipzig  and  associated  with  Fouque,  Lilienstern  and  Ernst 
von  Pfuel ;  with  Pfuel  he  went  to  Dresden,  then  to  Switzerland, 
then  to  Upper  Italy,  then  to  Paris  by  way  of  Geneva  and  Lyon, 
where  he  burned  his  "Guiskard"  and,  in  his  impossible  condi- 
tion, broke  with  Pfuel.  It  is  said,  and  there  seems  little  reason 
to  doubt  it,  that  he  then  planned  to  enter  the  French  army  and 
meet  death  on  the  battle  field.  But  this  double  scheme  could 
not  be  realized.  He  then  returned  to  Germany  and  we  find  him 
in  the  region  of  Mainz  and  Wiesbaden,  planning  to  become  a 
joiner.  After  disappearing  for  a  while,  he  reappeared  at  Potsdam 
in  1804,  and  secured,  on  the  recommendation  of  Stein,  a  poor 
position  in  Konigsberg,  where  he  was  for  a  while  in  1805- 
06,  one  of  his  most  productive  periods.  The  battle  of  Jena 
brought  another  change  in  his  life;  he  started  to  Dresden,  was 
captured  on  the  way  by  the  French  and  imprisoned  at  Joux. 
Liberated  through  the  instrumentality  of  his  sister,  he  went  in 
July,  1807,  to  Dresden,  where  he  published  with  Adam  Miiller 
(1808-09)  Phobus,  a  journal  with  a  pretentious  title  and  a 
short  life.  It  is  said  that  the  thought  of  assassinating  Napoleon 
now  came  to  him,  but  the  evidence  is  not  convincing.  On 
April  29,  1809,  he  left  Dresden,  went  to  Prag  on  some  sort  of 
political  business,  disappeared  from  sight  again  and  finally  showed 
up,  as  it  were,  at  Frankfurt  an  der  Oder,  and  came  from  there 
to  Berlin.  The  death  of  Queen  Luise  (July  19,  1810)  deprived 
him  of  his  last  hope ;  the  pension  that  she  had  given  him  had 
already  been  disturbed.  He  took  his  own  life  after  having  taken 
that  of  Frau  Henriette  Vogel  in  accordance,  as  it  seems,  with  a 
previous  promise,  at  Wannsee  near  Berlin,  November  21,  1811. 
He  lies  buried  by  her  side  on  the  spot  where  the  tragedy  occurred. 
Kleist,  like  Heine,  Jean  Paul,  Holderlin  and  not  many  others, 
not  only  deserves  but  has  to  be  given  a  place  in  German  litera- 
ture by  himself.  When  the  life  of  a  man  is  unique,  his  poetry 

[112] 


THE  SIDE  LIGHTS 

will  be  so  also,  and  Kleist's  was  unique-.  He  was  a  man  of 
tremendous  ambition ;  it  requires  courage  to  try  to  pluck  the 
laurels  from  the  brow  of  such  a  contemporary  as  Goethe.  He 
possessed  real  genius,  considerable  talent,  and  great  intellectual 
gifts.  He  hated  the  commonplace  always,  he  was  instinctively 
a  patriot,  and  yet  he  lived  and  wrote  in  the  days  of  Germany's 
greatest  degradation.  It  is  said  that  he  resembled  Torquato 
Tasso ;  if  so,  it  is  well  to  call  to  mind  Goethe's  drama  of  like 
name.  Great  and  alone,  he  was  secretive,  problematic  and 
pathologic,  eccentric,  personal  and  subjective.  The  social  back- 
ground of  Germany  from  1795  to  1811  explains  his  works  as 
well  and  fully  as  the  background  ever  can  explain  the  works  of 
a  German  poet.  The  one  real  genius  of  the  Romantic  School 
between  1798  and  1826,  'next  to  Schiller  and  Grillparzer  Ger- 
many's greatest  dramatist,  by  all  odds  the  one  great  dramatist  of 
Romanticism,  Classic  in  form  but  Romantic  in  content  by  reason 
of  his  extravagance,  starting  the  straight  line  that  can  be  drawn 
from  him  to  Hebbel  and  from  Hebbel  to  Ibsen,  he  nevertheless 
died  without  having  seen  a  single  one  of  his  plays  performed. 
He  bore  somewhat  the  same  relation  to  the  group  at  Dresden 
that  Tieck  bore  to  that  of  Berlin-Jena  and  Arnim  to  that  of 
Heidelberg.  Though  he  enjoyed  but  eleven  years  of  poetic 
activity  (1800-11),  he  can  now  be  read  in  many  editions  and 
can  be  studied  from  many  biographies  and  critical  monographs. 
Tieck  wrote  for  sixty-four  years  (1789-1853)  and  has  not  been 
treated  nearly  so  generously.  And  this  is  true,  despite  the  fact 
that  with  Kleist  everything  went  wrong ;  he  lost,  as  time  went 
on,  health,  love,  money  and  recognition. 

But  it  was  not  this  that  caused  his  tragic  end.  KJeist-was- 
an  uncompromising  idealist;  All  of  his  works  might  have 
been  cattetrTTnzeitgemasse  Betrachtungen."  Though  he  loved 
beauty,  he  could  not  sacrifice  truth  to.it.  He  could  not  treat 
the  trivial,  that  he  would  have  considered  blasphemy.  Nor  could 
he  treat  the  unreal,  that  would  have  made  him  a  Romanticist  as 
popularly  understood.  He  could  not  derive  inner  help  from  the 


OUTLINE  OF  GERMAN  ROMANTICISM 

flippant  souls  around  him,  that  would  have  made  him  scorn  him- 
self. He  lived  alone  and  wrote  for  a  generation  that  would  not 
hear  him.  Tired  of  rebuff,  he  voluntarily  departed  from  a  world 
that  he  felt  was  unkind  to,  and  unappreciative  of,  the  promising 
children  of  his  wonderful  but  very  odd  mind. 

BIBLIOGRAPHY 

ijbeinrid)  Don  $leift3  ge[ammelte  ©dEjriften.  Edited  by  Ludwig  Tieck, 
3  volumes,  Berlin,  1826.  Contains  introduction,  Volume  i,  pages  i-lxvi. 
Tieck's  work  is  valuable  because  pioneer;  it  has,  of  course,  been  super- 
seded from  the  point  of  view  of  plain  usefulness. 

§einrtd)  con  £leift3  politifdje  <Sd;riften  unb  anbere  9?ad)tr.age  su  jei= 
nen  SBerfen.  Edited  with  an  introduction  by  Rudolf  Kopke,  Berlin, 
1862.  1 68  pp. 

iQeinrid)  Don  $leift§  f amtlidje  SBerf e.  Edited  by  Eduard  Grisebach,  2  vol- 
umes in  i,  Leipzig  (Reclam),  1883.  842  pages.  The  best  cheap- edition. 

§einrid)  von  $letft3  famtlidje  SBerte.  Edited  by  Theophil  Zolling, 
Berlin,  1885.  KUrschner's  D.  N.  L.,  Volumes  149-150. 

§.  0.  $letft«>  famtlitfje  SBerfe.  Edited  by  Franz  Muncker,  4  volumes 
with  biographical  introduction,  Stuttgart  (Cotta),  1893. 

iQeinrttf)  von  $letft3  ajJeifterroerfe  tntt  ©rtauterungen.  Edited  by 
Eugen  Wolff,  4  volumes,  Minden  i.  W.,  1898-1903. 

§einrid;  von  Kleift^  fdmtltcfje  SBerfe.  Edited  by  Karl  Siegen,  4  vol- 
umes in  i,  Leipzig,  1900. 

ioeinrid)  von  5Heift3  fcimtlirfje  SBerle.  Edited  by  Bruno  Jagow,  with  a 
biographical  introduction,  2  volumes  in  i,  Leipzig,  1903. 

§einrid)  von  $leift§  2Serfe.  %m  SSerein  ntit  ©eorg  2Kinbe=^3ouet  unb 
9lein[)0lb  ©tetg.  Edited  by  Erich  Schmidt,  Leipzig  and  Wien,  5  vol- 
umes, no  year  (1905).  Possibly  the  best  edition. 

§einrid)  von  $leift3  famtlidje  SBerfe.  Edited  by  Fritz  Baader,  Stutt- 
gart, 1907.  One  volume,  401  (large)  pages;  cheap  edition,  not  so  good 
as  Reclam. 

^einrid)  von  $Ieift.  ©anttlidje  SSerle  unb  33riefe.  Edited  by  Wilhelm 
Herzog,  Leipzig,  1908-1911.  Contains  an  evaluating  introduction  and 
copious  notes.  The  edition  is  good  also  because  of  the  excellent  type 
and  print. 

<0einrtd)  Don  $leift§  jamUidje  9Berfe.  Edited  by  Arthur  Eloesser,  5 
volumes,  Leipzig,  1909-1910. 


THE  SIDE  LIGHTS 

Speinrid)  con  $leift.  SBerfe  auf  ©runb  ber  §empelfd)en  2Ui3gabe. 
Edited  by  Hermann  Gilow,  Willy  Manthey,  Wilhelm  Waetzoldt,  Berlin 
(2d  ed.),  1909.  The  "  Goldene  Klassiker-Bibliothek  "  edition,  and  good. 

Jpeinrid)  con  £Ieift§  (Srja'blungen.  Edited  by  Erich  Schmidt,  Leipzig, 
1908.  290  pp. 

ipeinrid)  Don  ftletftS  ©rjafylungen.  Berlin,  1910.  The  artistic  Cas- 
sirer  edition.  Three  small  volumes  without  commentary. 

ipeinridj  von  $leift3  Seben  unb  Sriefe,  mit  einem  2lnb,ange.  Edited 
by  Eduard  von  Billow,  Berlin,  1848.  286  pp. 

Speinrid)  oon  $Ieift3  Sriefe  an  feme  ©djtoefter  lllrife.  Edited  by  S. 
Rahmer,  Berlin,  1905.  228  pp. 

!ipeinrid)  von  ^leift.  By  Adolf  Wilbrandt,  Nb'rdlingen,  1863.  422  pages. 
A  valuable  biography  because  of  its  author  and  its  date. 

2)a3  Seben  <peinrid)3  von  illeift.  By  Otto  Brahm,  Berlin,  1911.  450 
pages.  New  edition. 

Speinrtd)  von  $letft.  <Sein  Seben  unb  fetne  SBerfe.  By  Wilhelm  Her- 
zog,  Miinchen,  1911.  694  pages.  Contains  (pages  676-681)  an  excellent 
bibliography. 

$leift3  Seben  unb  SBerfe.  By  Heinrich  Meyer-Benfey,  Gottingen,  2 
volumes,  1911.  The  biographies  of  Wilbrandt,  Brahm,  Herzog  and 
Meyer-Benfey  are  the  best  in  German. 

Henri  de  Kleist.  Sa  vie  et  ses  ceuvres.  By  Raymond  Bonafous, 
Paris,  1894.  424  pages.  This  was  Bonafous's  doctor's  dissertation  be- 
fore the  faculty  of  letters  at  Paris.  He  has  done  some  other  work  on 
Kleist. 

SpeinridE)  von  $letft  al§  Sftenjdj  unb  Sidjter.  By  Hermann  Conrad, 
Berlin,  1896.  40  pp. 

Stt§  ^letft'^roblem.  By  S.  Rahmer,  Berlin,  1903.  182  pages,  gdj 
faf)  mid)  gejttmngen,  mit  ber  neurologtfd)=pft)a)iatnid)en  33etrad)tung  audj 
rein  Itterarijd^e  Jorfdjungen  ju  oerbinben. 

§einrid)  »on  ^leift^  ,,2Jhitn>ilIe  be^  §immelg/y,  eine  literarfitftorifd^e 
Unterfudjung.  By  Paul  Hoffmann,  in  Eitphorion,  Volume  14  (1907), 
pages  565  to  577.  The  monographs  and  articles  on  Kleist's  individual 
works  are  many  in  number. 

fpetnridj  oon  $leift.  By  Laurenz  Kiesgen,  Leipzig,  1901.  126  pages. 
This  is  Number  6  in  the  "  Dichterbiographien." 

Jpeinrid)  con  tfleift.  <Setn  Seben  unb  feine  SBerfe.  By  Hubert  Bad- 
stiiber,  Wien,  1902.  68  pp. 

<S.  £>.  6atel,  ein  Se^rer  loetnrid)  oon  tfletfR  By  Hermann  Gilow,  in 
Euphorion,  Volume  14  (1907),  pages  287-308. 


OUTLINE  OF  GERMAN  ROMANTICISM 

©d)iller.[d)e  ©infliiffe  bei  <£>einrtcfj  »on  ftletft.  By  Wilhelm  Holzgrafe, 
Cuxhaven,  1902.  32  (large)  pp. 

§etnrici)  con  $leift  unb  bag  beutfcfje  Sweater.  By  Walter  Kiihn,  Miin- 
chen,  1912.  148  pp.  Gives  the  stage  history  of  Kleist's  dramas. 

SReue  $unbe  ju  ^einricf)  oon  iUeift.   By  Reinhold  Steig,  Berlin,  1902. 

i35  PP- 

©chiller  unb  $letft.    By  Emil  Mauerhof,  Zurich,  1898.    170  pp. 

2)ie  Soee  im  3)rama  bei  ©oetfye,  ©driller,  ©riUparjer,  $leift.  By 
Michael  Lex,  Miinchen,  1904.  314  pp. 

<Qeinricf)  von  $leift.  Sarftellung  beg  ^roblentg.  By  Hanna  Hell- 
mann,  Heidelberg,  1911.  80  pp. 

ijbeinricb,  oon  ^letft.  Sine  pathograp&tfrf)=pf9cf)ologtfd[)e  ©tubie.  By 
Isidor  Sadger,  Wiesbaden,  1910.  192  pp. 

$Ietft=©tubten.    By  Spiridion  Wukadinovic,  Stuttgart,  1904.  192  pp. 

!£>einnd)  Bon  ^leift  in  feinen  33riefen.  By  Roderich  Markentin,  Hei- 
delberg, 1900.  47  pp.  Gives  an  idea  of  Kleist's  titanic  but  fruitless 
attempt  to  win  fame. 

Kleist  and  Hebbel.  A  Comparative  Study.  By  Henrietta  K.  Becker, 
Chicago,  1904.  71  pp. 

S)ramaturgie  beg  ©djaufpielg.  By  Heinrich  Bulthaupt,  Oldenburg 
and  Leipzig,  1906.  Lessing,  Goethe,  Schiller,  Kleist  (pages  481  to  555). 
A  good  work  for  the  intellectually  timid. 

2Kimifd)e  ©tubien  ju  §einrtdj  con  $letft.  By  Ottokar  Fischer,  in 
Euphorion,  Volume  15  (1908),  pages  485  to  510,  716  to  725;  and  Vol- 
ume 16,  pages  62  to  92,  412  to  425,  747  to  772.  A  valuable  study  of  an 
important  phase  of  Kleist's  dramas. 

S)er  reimlofe  fiinffufjtge  ^antbug  bet  £einnd)  oon  $leift.  By  Heinrich 
Fiiser,  Miinster  i.  W.,  1911.  136  pp. 

$)ie  ©ntroicfelung  ber  nooelltftijcfjen  ^ompofitiongted)nif  5?Ietftg  big  jur 
SKeifterfd^aft.  By  Kurt  Giinther,  Leipzig,  1911.  90  pages.  Kleist's  short 
stories  constitute  an  exceedingly  important  part  of  his  work,  making 
this  study  indispensable. 

2)ie  nooeUiftifdje  £unft  £einrtdjg  Don  ^leift.  By  H.  Davidts,  Berlin, 
1913.  151  pp. 

iQeinrid)  Don  ^leift.  By  Franz  Servaes,  Leipzig,  1902.  Contains  good 
illustrations.  160  (quarto)  pp. 

$letftg  Serliner  ^ampfe.  By  Reinhold  Steig,  Berlin,  1901.  A  valu- 
able documentary  book,  but  heavy  reading.  708  pp. 

SQeinricf)  oon  $leift  alg  2Renfd)  unb  3Md)ter.  By  S.  Rahmer,  Berlin, 
!9°9-  453  PP- 

[116] 


THE  SIDE  LIGHTS 

<QetnridE)  won  £leift.  Seine  ©pradje  unb  fetn  ©til.  By  Georg  Minde- 
Pouet,  Weimar,  1897.  310  pages.  A  valuable  study. 

$leift  unb  bie  SHomantif.  By  Ernst  Kayka,  Berlin,  1906.  210  pages. 
A  valuable  study  in  that  it  tries  to  prove  that  Kleist  was  not  a  Romanticist. 

<£>eirtrid)  Don  illeiftS  Sleije  nad)  SBiirjburg.  By  Max  Morris,  Berlin, 
1899.  50  pp. 

READING    LIST 
(Pagination  after  Herzog's  edition) 

1803.  3)ie  tJfanuK6  ©djroffenftein,  tragedy,  182  pages.  Kleist's  first 
work  and  one  that  he  later  disliked.  The  first  form  was  called 
"  Die  Familie  Thierrez,"  the  second  "  Die  Familie  Ghonorez." 
First  performed  under  Karl  Immermann's  management  at 
DUsseldorf,  February  12,  1837. 

1803.  Robert  ©Ut3!arb,  dramatic  fragment,  29  pages.  Written  in  1802- 
03,  destroyed,  written  again  from  memory  in  1807,  published 
in  Phobus  in  1808.  ©§  jollte  md)t§  ©eringereS  bebeuten,  ulS 
eine  Uberbietung  alleS  beffen,  roa3  bie  beutfdjen  ^laffifer  »on 
Sejfing  bi3  ©chiller  im  Srama  erreicfjt  fatten.  First  performed 
in  1901  in  Wien  between  Goethe's  "Satyros"  and  Werner's 
"  Der  vierundzwanzigste  Februar,"  and  in  Berlin,  under  Paul 
Lindau's  management,  with  Goethe's  "  Satyros"  and  "  Elpenor." 

1807.  2lmp^itrnon,  comedy  after  Moliere,  129  pages.   First  performed 

in  Berlin  in  1898. 

1808.  ^Bentfyefilea,   tragedy,    179  pages.     Performed  in  Berlin,  under 

Mosenthal,  or  rather  according  to  his  stage  version,  April  25, 
1876.    It  was  possibly  performed  earlier  elsewhere. 

1808.  2)er  jerbrodjene  $rug,  comedy,  159  pages.  First  performed  at 
Weimar  under  Goethe's  management,  March  2,  1808. 

1808.  35ie  ioertnann3fd)[acf)t,  drama,  161  pages.  In  1858  Heinrich  von 
Treitschke  said  that  the  drama  should  be  performed.  It  was 
performed  about  1860  in  the  version  of  Feodor  Wehl. 

1810.  35a§  $atfjd)en  Don  Sbeilbronn,  historical  drama,  178  pages.  First 
performed  March  17, 1810,  at  the  Theater  an  der  Wien.  Kleist's 
most  popular  drama. 

1810.  ^prinj  'griebrtcfj  oon  ioom&urg,  drama,  128  pages.  First  performed 
under  Schreyvogel's  management,  October  3,  1821.  Kleist's 
last  and  ripest  drama.  If  Romanticism  allows  love  to  prevailx 
over  duty,  then  this  drama  is  most  Romantic. 


OUTLINE  OF  GERMAN  ROMANTICISM 

1811.   9lo»el(en.    Appeared  in  book  form  in  Berlin,  but  some  of  the 
stories  were  written  and  published  separately,  several  appearing 
in  magazines,  previous  to  1811.    They  were  as  follows: 
•X.     3JZtc^ael  $of)l&aa3,  142  pp. 
\(    Sie  9Karquife  won  D.,  65  pp. 
^    £>ag  ©rb&eben  in  SfiiU,  21  pp. 
V     S)ie  SSerlobung  auf  @t.  Sonringo,  52  pp. 
Sag  23ettelroei&  con  Socarno,  3  pp. 
Set  ginbling,  23  pp. 

Sie  heilige  Gadlte,  ober  bie  ©eroalt  ber  Sftufif,  17  pp. 
Set  3tt>eifatnpf,  47  pp. 

1811.  ©ebicfjte,  63  pp.  Some  of  Kleist's  best  known  poems  are  Dbe 
auf  ben  SBiebereinjug  beg  $5mg3  im  SBinter  1809;  2ln  bie  $b= 
nigin  »on  ^reu^en  (1810);  ©ermania  an  ifire  ^inber  (1809); 
$riegs>Iieb  ber  Seutfd^en  (1809);  Sag  le£te  Sieb,  published  in 
1818.  It  is  not  customary  to  think  of  Kleist  as  a  lyric  poet; 
his  poems  are  either  eulogies  or  anathemas  in  verse,  they  were 
not  written  to  be  sung. 


KARL  THEODOR  KORNER 

Born  September  23, 1 79 1 ,  at  Dresden,  the  son  of  C.  G.  Korner, 
Schiller's  great  and  good  friend.  Carefully  trained  at  home  as  a 
youth,  he  studied  (1808-1810)  under  A.  G.  Werner  at  Freiberg. 
Entered  the  University  of  Leipzig  in  1 8 1  o  to  study  law,  was  soon 
dismissed.  Came  in  1811  to  the  University  of  Berlin  to  study 
philosophy  and  history.  Went  then  to  Wien,  where  he  associ- 
ated with  Friedrich  Schlegel  and  Wilhelm  von  Humboldt  and 
was  made  poet  of  the  Court  Theatre  in  1812.  Became  engaged 
to  the  actress  Toni  Adamberger.  Followed  then  the  call  of  Fried- 
rich  Wilhelm  III  and  enlisted  as  a  volunteer,  March  19,  1813, 
at  Breslau,  joining  Llitzow's  famous  company.  Seriously  wounded 
at  Kitzen  on  June  7,  1813.  Mortally  wounded  at  Gadebusch. 
Chivalric  as  a  man,  of  great  promise  as  a  poet,  of  undaunted 
courage  as  a  soldier,  he  reaped  the  rich  reward  of  the  poet- 
martyr.  A  man  of  wonderful  productivity.  Within  fifteen 
months  he  finished  6  tragedies,  5  comedies,  the  librettos  of 

[118] 


THE  SIDE  LIGHTS 

several  operas,  a  number  of  poems.  Schiller  was  his  dramatic 
model,  also  Kotzebue  and  Z.  Werner.  His  "  Rosamunde," 
"Toni"  (after  Kleist's  "  Verlobung  ")  and  "Zriny"  are  still 
performed  in  Leipzig  and  Dresden  on  the  anniversaries  of 
his  birth  and  death.  His  poems  have  been  set  to  music  by 
K.  M.  v.  Weber,  Himmel  and  Schubert.  He  died  at  Gadebusch, 
August  26,  1813. 

BIBLIOGRAPHY 

3)<x3  ©rab  bei  SBobbelin;  ober  £fteobor  Corner  unb  bie  Siifcoroer. 
By  Friedrich  Brasch,  Schwerin,  1861.  300  pp. 

Xfjeobor  Corner,  ©ein  Seben  vtnb  feine  Sicfytungen.  By  Adolph  Ko- 
hut,  Berlin,  1890.  319  pp. 

Sfjeobor  Corner  }iim  23.  September  1891.  By  Rudolf  Brockhaus, 
Leipzig,  1891.  197  (quarto)  pp.  Contains  many  valuable  Korneriana. 

©djillerg  ©influf;  auf  Sheobor  Corner.  By  G.  E.  Reinhard,  1899. 
140  pp. 

£b,eobor  Corner  iinb  bie  ©einen.  By  W.  Emil  Peschel  and  Eugen 
Wildenow,  Leipzig,  1898.  Two  handsomely  and  artistically  illustrated 
volumes. 

Xb/eobor  Corner  in  2Recflenburg.  By  Fr.  Latendorf,  Schwerin,  1890. 
36  (large)  pp. 

$5rner3  SSerfe.   Two  volumes,  Stuttgart,  1848. 

$orner§  fammtliclje  SBerfe.  Edited  by  Hermann  Fischer,  4  volumes, 
Stuttgart  (Cotta),  no  year.  Most  convenient  place  to  read  Kb'rner. 

£E)eobor  $orner3  jdmmtlidje  2Ber!e.  Edited  by  Karl  Streckfuss,  with 
a  good  biographical  sketch  by  C.  A.  Tiedge  (pp.  xxx-lxvii),  Berlin,  1861. 
One  volume,  837  closely  printed  pages. 

Sbeobor  $drnen>  Xob,  ober  ba§  ©efea^t  bei  ©abebufd).  By  Johann 
Nepomuk  Adolph  von  Schaden,  no  place,  1817.  This  work  is  a  drama, 
on  Kbrner's  death,  in  one  act.  Such  poetizations  of  poets  are  common 
in  German  literature ;  there  are  over  200  such  instances.  Goethe, 
Schiller,  Lenz,  Kotzebue,  W.  Schlegel,  Novalis,  Z.  Werner,  E.  T.  A. 
Hoffmann,  Grillparzer,  Immermann,  Tieck,  Hauff,  Alexis,  Fouque, 
Waiblinger,  Gutzkow,  Eichendorff,  Raupach,  Bettina,  Laube,  Halm, 
Griin  and  Grabbe  are  the  main  Romanticists  who  wrote  such  works. 

Sffeobor  Corner.  By  Adolf  Calmberg,  Leipzig  (Reclam),  no  year. 
A  drama  in  four  acts  on  Korner  and  his  contemporaries.  Like  the 
preceding. 


OUTLINE  OF  GERMAN  ROMANTICISM 

READING    LIST 

1812.  Qrint),  tragedy  in  5  acts,  no  pp. 

1812.  Jtofcununbe,  tragedy  in  5  acts,  100  pp. 

1812.  Zoni,  drama  in  3  acts,  50  pp. 

1813.  £>er  grime  2)omino,  comedy  in  Alexandrines  in  i  act,  25  pp. 
1813.  ©er  ^adOtnwcfyter,  farce  in  i  act,  25  pp. 

1813.  S)er  better  au3  Sremen,  play  in  i  act,  25  pp. 

1813.  Seter  unb  ©djraert,  collection  of  patriotic  poems,  about  50  pp. 


NIKOLAUS  FRANZ  NIEMBSCH,  EDLER  VON  STREHLENAU 
(NIKOLAUS  LENAU) 

Born  August  13,  1802,  at  Csatad  near  Temesvar  in  Hungary. 
Of  remote  Slavonic  ancestry,  Magyar  by  birth  and  early  training, 
German  in  temperament.  "  Niembsch  "  means,  it  is  said,  "  der 
Deutsche."  Father,  dissipated,  died  in  1807.  Mother  married 
(1811)  Karl  Vogel  and  moved  to  Pest.  Studied  (1811-1816)  at 
the  gymnasium  of  the  Piarists  in  Pest,  went  then  to  Tokaj,  studied 
(1821-1831)  at  the  universities  of  Wien,  Pressburg,  Altenburg, 
Heidelberg,  this  and  that  without  ever  getting  a  firm  hold  on 
any  one  subject.  Went  (1831)  to  Schwaben,  kindly  received  by 
G.  Schwab,  J.  Kerner,  K.  Mayer.  Came  to  the  United  States, 
landed  at  Baltimore  (October  8,  1832).  Came  with  great  expec- 
tations, thoroughly  disappointed :  landscapes  were  too  wild  for 
him,  the  American  always  "  had  a  cigar  in  his  mouth  and  a  plan 
in  his  head."  Returned  to  Germany  in  June,  1833.  Went  to 
Schwaben  and  spent  the  remainder  of  his  sane  days  oscillating 
between  Wien  and  Stuttgart.  Fell  in  love  in  succession  with 
Charlotte  Gmelin,  Sofie  Lowenthal,  Caroline  Unger,  and  Marie 
Behrends  to  whom  he  became  engaged.  Never  married.  Be- 
came insane  in  1844  in  Stuttgart,  was  placed  in  the  asylum  in 
Winnenthal  (October  22,  1844),  removed  (1847)  to  the  asylum 
at  Oberdobling  near  Vienna,  where  he  ended  his  days  in  com- 
plete mental  darkness.  The  greatest  lyric  writer  of  Austria, 
skilled  in  music,  —  it  has  been  said  that  his  poems  remind  one 


THE  SIDE  LIGHTS 

of  Chopin,  —  unsettled,  visionary,  reflective,  subjective,  sensitive, 
irritable,  artistic.  His  lyrics  have  a  strong  epic  strain.  Irregular 
as  a  poet ;  some  of  his  poems  are  felt,  others  made.  Given  to 
florid  language  and  exaggerations.  A  profound  student  of  nature ; 
studied  nature  more  than  man.  Has  been  compared,  by  Ana- 
stasius  Griin,  to  Holty  and  Byron.  He  lived  Romanticism. 
One  of  the  most  talked  of  men  in  his  day  in  Germany.  Pre- 
ferred broad  subjects.  His  "  Don  Juan  "  gave  Richard  Strauss 
the  theme  for  his  tone  poem  of  like  name.  He  said :  SDZcinc 
fiimmtlicrjcn  ©chriften  ftnb  mctn  jammtttd)c3  Seben.  Died 
August  22,  1850. 

BIBLIOGRAPHY 

£enait3  iteben.    By  Anton  X.  Schurz,  2  volumes,   Stuttgart,   1855. 
Contains  many  letters. 

Senou  in  <Sd)roa&en.    By  Emma  Niendorf,  Leipzig,  1855.    327  pp. 

$ur  SMograpftie  Senaug.   By  L.  A.  Frankl,  Wien,  1885.   144  pp. 

DJicoldllS  Senail.    By  Theodor  Opitz,  Leipzig,  1850.    51  pp.   Critical. 

£enau3  ^rauengeftalten.   By  A.  W.  Ernst,  Stuttgart,  1902.  410  pp. 

Senau  al3  9Jaturbid^ter.    By  Theodor  Gesky,  Leipzig,  1902.    58  pp. 

Treatment  of  Nature  in  the  Works  of  Nikolaus  Lenau.    By  Camillo 
von  Klenze,  Chicago,  1903.   83  (large)  pp. 

Lenau  and  Young  Germany  in  America.  By  Thomas  Stockham  Baker, 
Philadelphia,  87  (large)  pp.    Bibliography  for  Lenau,  pages  28  to  30. 

8enau3   famtUdje  SBerfe.     Edited  by  Anastasius  Griin,   Stuttgart ' 
(Cotta),  no  year.    The  best  place  to  read  Lenau.   Volume  i  contains 
(pp.  1-90)  an  excellent  biographical  sketch. 

READING    LIST 

1836.  5auft>  tragic  poem,  100  pp. 

1837.  ©aoonarola,  narrative  poem,  120  pp. 
1842.  2)ie  2Hbigenfer,  narrative  poem,  100  pp. 

1844.   2)on  %UQ,n,  dramatic  poem  (incomplete),  32  pp. 

1844.  ®ebtd)te,  about  500,  dating  back  to  1827.  Though  Lenau's  lyrics 
have  not  generally  found  favor  with  composers,  his  poem  en- 
titled SBitte,  beginning  2Beil'  cmf  mir,  bu  bunfleS  2luge,  has 
been  set  to  music  1 16  times.  The  composition  by  Robert  Franz 
is  possibly  the  best. 

[121] 


OUTLINE  OF  GERMAN  ROMANTICISM 

EDUARD  FRIEDRICH  MORIKE 

Born  September  8, 1804,  at  Ludwigsburg.  Father  a  physician, 
mother  a  daughter  of  a  preacher.  Remotely  related  to  Luther. 
Entered  the  Latin  school  of  Ludwigsburg  in  181 1.  Father  died 
in  1817  leaving  family  under  economic  pressure.  Entered  then 
the  gymnasium  illustre  in  Stuttgart ;  a  weak  student.  Confirmed 
in  1818.  Attended  the  Seminary  of  Urach  from  1818  to  1822. 
Formed  here  a  lifelong  friendship  with  Wilhelm  Hartlaub. 
Wilhelm  Waiblinger  also  became  well  acquainted  with  him ;  the 
friendship  was  broken  in  1825.  Attended  from  1822  to  1826 
the  theological  seminary  at  Tubingen.  Associated  here  with 
Fr.  Th.  Vischer  and  D.  Fr.  Strauss.  A  wandering  and  dis- 
satisfied preacher  from  1827  to  1843.  Held  vicarial  positions 
at  Oberboihingen,  Mohringen,  Pflummern,  Plattenhardt,  Owen, 
Eltingen,  Ochsenwang,  Weilheim,  Oethlingen,  Cleversulzbach. 
Retired  from  the  ministry  in  1843.  Became  engaged  to  Luise 
Rau  in  1829,  broke  the  engagement  in  1833.  Mother  died  in 
1841.  Travelled  for  his  health  and  was  a  frequent  guest  at  the 
Kerner  House  in  Weinsberg,  where  he  met  Uhland,  Karl  Mayer, 
Strauss  and  Hermann  Kurz.  Moved  to  Schwabisch-Hall  in  1 843, 
to  Mergentheim  in  1844.  Met  here  Gretchen  von  Speeth,  whom 
he  married  November  25,  1851.  Went  then  to  Stuttgart  and  be- 
came teacher  of  literature  at  the  ®atf)arinenfttft.  His  marriage 
was  not  happy ;  his  wife  was  a  Catholic,  he  a  Protestant.  Sepa- 
rated in  1873  ;  reconciled  shortly  before  his  death.  Received 
a  number  of  honors  late  in  life:  doctorate  and  professorship 
from  Tubingen,  membership  in  Bavarian  and  Swabian  orders, 
and  a  pension.  Intimately  associated  with  Moritz  von  Schwind, 
Th.  Storm,  Paul  Heyse,  Hebbel.  Retired  from  his  position  in 
Stuttgart  in  1866.  Lived  then  temporarily  in  Lorch,  Niirtingen, 
Fellbach  and  Bebenhausen.  His  life  was  simple  in  the  extreme. 
Never  physically  strong.  Translated,  edited,  drew.  Gentle, 
dreamy,  artistic,  calm  and  retiring.  One  of  Germany's  greatest 
lyric  writers.  His  songs  have  been  set  to  music  by  Hugo  Wolf, 

[   122] 


THE  SIDE  LIGHTS 

Schumann,  Brahms,  Franz,  Bruch,  Eyken,  Herzogenberg,  Max 
Reger,  Draseke,  D'Albert,  Kahn,  Weingartner  and  Silcher.  It 
is,  however,  Hugo  Wolf  with  whose  compositions  we  associate 
the  name  of  Morike,  just  as  we  associate  Schubert  with  Goethe, 
Schumann  with  Heine.  Influenced  by  Calderon,  Ossian,  Shake- 
speare, Goethe,  Novalis,  J.  Kerner,  E.  T.  A.  Hoffmann  and  Jean 
Paul,  he  has  at  the  same  time  been  compared  to  many  poets ; 
he  began  to  write  lyrics  when  quite  young.  His  poems  are  not 
confessions,  they  are  the  outpourings  of  his  heart  and  soul,  not 
of  his  brain  in  reflection.  As  a  novelist,  we  know  him  now 
especially  by  his  picture  of  Mozart,  one  of  the  most  delightful 
bits  of  literature  written  in  the  German  language,  and  his  longer 
Siinftlerroman,  "  Maler  Nolten,"  a  work  begun  early  and  never 
finished.  Of  this  novel  it  has  been  said :  ^n  Mintage  unb  Som> 
position  beriifjrte  fid)  SKortfe  ntit  ©oetfye,  in  ©toff  unb  <Sttl 
mit  bcr  Stomantif,  in  fetnem  d)arafteriftifd)en  ©efjalt  aber  ttiar 
SRaler  9Mten  be§  S5td)ter§  Dotted  Gngentum.  Though  not 
formally  connected  with  the  Romantic  movement,  he  was  one 
the  most  Romantic  of  poets.  His  withdrawal  from  the  world 
was  not  a  pose,  he  wanted  to  be  alone  with  his  grief  and  his  joy. 
His  kindly  attitude  is  shown  by  his  championing  the  cause  of 
the  mystic  beauty,  Clara  Maria  Meyer,  so  long  as  it  was  prudent. 
He  died  at  Stuttgart,  June  4,  1875. 

BIBLIOGRAPHY 

2JZ6rtfe§  2Cerfe.  Edited  by  August  Leffson,  4  parts  in  z  volumes, 
Berlin  (Bong),  no  year  (recent).  ^Contains  good  general  and  special 
introductions. 

©buarb  3JZ6rife^  Seben  unb  SBerfe.  By  Karl  Fischer,  Berlin,  1901. 
241  (large)  pp.  Illustrated. 

©buarb  3JJ6rife.  By  Walther  Eggert-Windegg,  Stuttgart,  1904. 
105  pp. 

dbuarb  2K6rife  in  @d)rod6ijc^=§aU  unb  2Hergentf)etm  (1843-1847)  nad) 
neuen  2>ofumenten  bargeftellt.  By  Walther  Eggert-Windegg.  In  Eu- 
phorion,  Volume  14,  pages  595-611  and  764-778. 


OUTLINE  OF  GERMAN  ROMANTICISM 

3K5ri!e  unb  ©oetfie ;  eine  nterarifdje  ©tubie.  By  Heinrich  Ilgenstein, 
Berlin,  1905.  143  pp.  The  second  edition. 

©buurb  2ftori!e  al3  ©elegenfjeitibitfjter..  By  Rudolf  Krauss,  Stuttgart, 
1895.  IJ8  PP- 

2)eutf(f)e  £tteraturgefd)id[)te.  By  Alfred  Biese,  Miinchen,  1912.  Vol- 
ume 2,  pages  649-677.  An  excellent  study  of  Morike. 

©efammelte  ©cfjnften  x>on  ©buarb  2J{orife.  Four  volumes,  Leipzig, 
1897-1902.  Vol.  i  contains  the  6th  edition  of  the  first  half  of  "  Maler 
Nolten,"  Vol.  2  the  5th  edition  of  the  second  half,  Vol.  3  the  6th  edition 
of  his  novelettes,  Vol.  4  the  i6th  edition  of  his  poems. 

2)u  6ift  Drplib  mein  Sartb.  2lu3geroaf)lte  ®ebid£)te  unb  (Srjafjlungen. 
Edited  by  Will  Vesper,  Dusseldorf,  no  year  (recent).  296  pp.  Illustrated. 

©buarb  3Worife.  3n>ei  ftagmentarifdfjc  ^3rofabirf)tungen  aus>  betn  3lafys 
Ia^.  Edited  by  Harry  Maync.  In  Enphorion,  Volume  9,  pages  699-707  ; 
and  Volume  10,  pages  180-193. 

©buarb  2ftortfe.  @ein  Seben  unb  Std^ten.  By  Harry  Maync,  Stutt- 
gart, 1913.  443  pp. 

READING    LIST 

1832.  SJJalet  9Zolten,  novel,  650  pages.  Revised  from  1854  to  1875. 
Completed  by  Julius  Klaiber  in  1876.  £>e3  reicfyen  2ieberfom= 
nterS  le^te  3tofe,  erbliif)enb  tm  gebeimften  2al  con  ©cfyroaben. 
—  Theodor  Mommsen. 

1836.    ®er  @d)a^,  short  story,  no  pp. 

1838.  ©ebtdjte.  Morike  first  began  to  publish  poems  in  the  Morgenblatt  of 

1828.  This  edition  contained  143  poems,  that  of  1848  contained 
187,  that  of  1856  contained  200,  that  of  1867  contained  226. 

1839.  Sucie  ©elmerotf),  short  story,  30  pp. 

1852.  3)a3  ©tuttgarter  SQii^elmannlein,  fairy  tale,  141  pp. 
1856.  2JJojart  auf  ber  9Jeife  nadfj  $rag,  short  story,  105  pp. 


WILHELM  MULLER 

Born  October  7,  1794,  at  Dessau;  son  of  a  master-tailor. 
Attended  the  gymnasium  of  Dessau,  entered  in  1812  the  Uni- 
versity of  Berlin,  studied  under  F.  A.  Wolf,  Boeckh,  and  Solger. 
Entered  the  army  as  a  volunteer  in  1813,  returned  to  Berlin  in 
1814  and  took  up  the  study  of  Old  German  literature.  Fell  in 

[124] 


THE  SIDE  LIGHTS 

love  with  Luise  Hensel.  Started  in  1817  on  a  journey  to  Egypt, 
but  got  no  farther  than  Rome.  Returned  to  Berlin  in  1819,  be- 
came a  teacher  of  ancient  languages  at  the  gymnasium  of  Des- 
sau in  1820,  later  librarian  at  the  ducal  library.  Married  in  1821 
a  granddaughter  of  Basedow.  Travelled  —  Weimar,  Dresden, 
Wiirttemberg.  Father  of  Max  M  tiller.  Personally  acquainted 
with  Arnim,  Brentano,  the  Grimms,  Fouque,  Tieck,  Loeben, 
Malsburg,  Goethe,  Schwab,  Uhland  and  Kemer.  Like  Holder- 
lin,  Waiblinger,  Schwab,  Chamisso,  Luise  Brachmann  and  King 
Ludwig  of  Bavaria,  he  was  a  great  admirer  of  Greece.  His 
songs  are  pure,  fresh,  human,  clear,  melodic,  German.  Often 
set  to  music,  especially  by  Franz  Schubert.  The  traditional 
classification  of  his  songs  is  90?iil(erlteber,  2Btnterlieber,  8cinb= 
lic|e  Steber,  £afellieber,  ©rtccf)en(ieber.  Influenced  by  Goethe, 
Uhland,  Eichendorff  and  the  German  $olf§lieb.  Concerned 
himself  with  English  literature.  Editor  of  some  importance,  and 
wrote  on  historical  subjects  and  the  "  Nibelungenlied."  He  wrote 
300  epigrams.  Died  October  i,  1827. 

BIBLIOGRAPHY 

33ermtfcf)te  ©djriften  con  JBilfjelm  2JZiilIer.  Edited  with  biographical 
introduction  by  Gustav  Schwab,  Leipzig,  1830.  Five  (small)  volumes. 

Wilhelm  Miiller  and  the  German  Volkslied.  By  Philip  Schuyler 
Allen,  Chicago,  1901.  159  pp. 

SBUfielm  SWiiller.  <Sein  2eben  unb  Sidjten.  By  Bruno  Hake,  Berlin, 
1908.  59  pp.  (Teildruck.) 

Xte  $funftan[d)cuwng  JBilfjelm  2J?iilIer§.  By  Alloys  Joseph  Becker, 
Leipzig,  1908.  89  pp. 

READING    LIST 

1827.  ©ebidjte  Don  2Bilf)elm  2JZulIer.  Complete  critical  edition,  edited 
with  introduction  and  notes  by  James  Taft  Hatfield,  Berlin, 
1906.  444  pages  of  poems.  Best  place  to  read  Miiller's  poems. 


OUTLINE  OF  GERMAN  ROMANTICISM 

JOHANN  NEPOMUK  EDUARD  AMBROSIUS  NESTROY 

Born  December  7,  1801,  at  Wien.  Came  of  good  parentage 
and  was  well  educated  till  his  twentieth  year,  when  he  went  on 
the  stage.  He  played  and  wrote  plays  the  rest  of  his  life.  Acted 
and  sang  in  Amsterdam,  Briinn  and  Graz.  Engaged  at  the 
Theater  an  der  Wien  from  1831  to  1845.  He  went  then  to  the 
Leopoldstadtertheater,  which  he  himself  conducted  from  1854  to 
1860.  Achieved  great  success  as  a  comedian  and  writer  of 
comedies,  farces  and  parodies.  His  success  proved  the  undoing 
of  his  contemporary  and  fellow-patriot  Raimund.  His  unwritten 
motto  was,  "  Everything  is  admissible  that  is  not  found  out." 
By  incorporating  this  idea  in  his  plays,  by  laughing  at  every- 
thing, even  crime,  he  lowered  the  ethical  standard  of  Wien. 
Twice  married,  first  unhappily  and  then  illegally.  His  plays 
typical  of  the  Viennese  spirit.  Had  no  connection  with  the 
Romantic  movement;  parodied  in  a  negative  way  Raimund's 
positive,  popular,  optimistic  Romanticism.  Wrote  67  pieces. 
Died  at  Graz,  May  25,  1862. 

BIBLIOGRAPHY 

9teftrot)<3  2Berfe.  Edited  by  Otto  Rommel,  two  volumes  in  one,  Ber- 
lin (Bong),  no  year  (recent).  The  best  edition.  Biographical  introduc- 
tion, pages  i  to  Ixxxvii.  Contains  separate  introductions  to  the  individual 
works. 

2lu3  JJeftron.  Sine  Heine  ©rinnerungsigabe.  By  L.  Rosner,  Wien,  no 
year.  58  pp.  Contains  a  number  of  Nestroy's  sayings. 

READING    LIST 

1833.  ®er  &ofe  ©eift  SuntpacitxxgabunbuS  ober  ba3  lieberltd)e  5Hee6latt, 
fairy  extravaganza  with  songs,  40  pp. 

1841.  3)d3  -JRdbl  au3  ber  SSorftabt,  farce  in  three  acts,  70  pp. 

1842.  (Sinen  !3ur.  if  ill  er  fid)  madjen,  farce  with  song  in  four  acts,  71  pp. 
1848.  greifjeit  in  $riif)roinfel,  farce  with  song  in  two  parts,  (i)  S)ie  3ie> 

t)olution,  (2)  £>ie  Steaftion,  67  pp. 

[126] 


THE  SIDE  LIGHTS 

KARL  AUGUST  GEORG  MAX,  GRAF  VON 
PLATEN-HALLERMUNDE 

Born  October  24,  1796,  at  Ansbach.  Father  a  Prussian 
forester,  mother  daughter  of  a  court  marshal  at  Ansbach. 
Family  belonged  to  the  poor  nobility.  Entered  the  cadet  corps 
at  Miinchen  in  September,  1806,  became  a  page  in  1810  and  as 
such  acquired  a  good  general  education,  especially  in  languages. 
Became  a  lieutenant  in  the  private  regiment  of  King  Maximilian 
in  1814,  and  after  Napoleon's  flight  from  Elba  in  1815  he  fol- 
lowed his  regiment  to  the  field,  but  saw  no  actual  fighting. 
Visited  Switzerland  in  1816  and  1817.  Entered  the  University 
of  Wiirzburg  in  1817  to  study  natural  sciences,  the  University 
of  Erlangen  in  1818,  where  he  became  an  enthusiastic  disciple  of 
Schelling.  Remained  in  Erlangen  until  1826,  made  journeys  to 
various  parts  of  Germany  and  Italy,  met  at  various  times  Jakob 
Grimm,  Goethe,  Uhland,  Riickert.  Lived  most  of  the  time  from 
1826  till  his  death  in  Italy.  Pensioned  by  the  Bavarian  king  and 
made  a  member  of  the  Bavarian  Academy  of  Sciences.  Of  a 
noble  nature,  had  only  one  brief  love  affair,  awkward  in  his 
habits,  paid  little  attention  to  titles,  an  opponent  after  1826  of 
Romanticism  ;  the  author  of  some  stirring  ballads,  the  Winkelried 
of  poetry,  he  can  never  become  popular  because  of  the  cold 
dignity  and  severe  polish  of  his  verses.  Skilled  in  the  employ- 
ment of  Oriental  verse  and  strophe  forms,  like  Riickert.  At- 
tacked Immermann  and  was  attacked  by  Heine.  Kept  a  diary 
from  1813  till  a  few  days  before  his  death.  Made  a  mistake  in 
trying  to  satirize  modern  conditions  in  classical  language.  Died 
at  Syracuse,  December  5,  1835. 

BIBLIOGRAPHY 

2luguft  ®raf  mm  platens  famtlidje  2Berfe.  Critically  edited  by  Max 
Koch  and  Erich  Petzet,  12  volumes  in  4,  Leipzig  (Hesse),  no  year. 
Contains  biographical  introduction,  notes,  pictures  of  Platen,  facsimiles 
and  special  introductions. 


OUTLINE  OF  GERMAN  ROMANTICISM 


famttirfje  2Berfe.    Edited  by   Karl   Goedeke,  4  volumes, 
Stuttgart  (Cotta),  no  year. 

platens  bramatifc^er  9Jatf)la£s.  Edited  by  Erich  Petzet,  Berlin,  1902. 
Introduction,  pages  i-xcvii  ;  Jiacfylafc,  pages  1-189. 

3luguft  ®raf  o.  platen.  @in  33ilb  feineg  geiftigen  @ntnnc!elungggan=> 
geg  unb  feineg  bicfyterifcfyen  ©tfjaffeng.  By  Rudolf  Schlosser,  MUnchen, 
1910.  A  monumental  work.  Volume  I  covers  the  period  from  1796  to 
1826  and  consists  of  765  large  pages.  Volume  II  (1913)  consists  of  572 
pages,  including  index. 

platen  gorfcfyungen.    By  Albert  Fries,  Berlin,  1903.    126  pp. 

platens  2itteratur=$omobien.  By  Oskar  Greulich,  Luzern,  1901. 
132  pp. 

Patent  romantifcfje  £omobien,  if)re  $ompo[ttion,  DueUen  unb  SBor= 
bilber.  By  Carl  Heinze,  Marburg,  1897.  67  pp. 

Patent  ©tellung  in  ber  ©ntroicfelung  ber  beutfcfjen  9totionaHitteratur. 
By  Johannes  Marbach,  Weimar,  1856.  In  Weimarisches  Jahrbuch  fur 
deutsche  Sprache,  Litteratur  iind  Kunst,  Volume  4,  pages  43—64. 

2)eutjd)e  Sf)araltere.  By  Rich.  M.  Meyer,  Berlin,  1897.  Platen,  pages 
128-138. 

©tubten  ju  ^lateng  Sallaben.  By  H.  E.  K.  Stockhausen,  Berlin, 
1899.  62  pp. 

platen  in  feinem  3Serf)dltnig  ju  ©oet^e.  By  Rudolf  linger,  Berlin, 
1903.  190  pp. 

©efammelte  2luffafce.  By  Franz  Kern,  Berlin,  1895.  Platen,  pages 
164-185. 

©tubien  jit  ©rof  platens  ©ajelen.  By  Hubert  Tschersig,  Leipzig, 
1907.  47  pp. 

^Platens  3iac^bilbungen  au3  bem  Siroan  beg  §afi^.  By  Friedrich 
Veit,  Berlin,  1908.  224  pp. 

Patent  politifd^e  2lnfa^auungen  in  ityrer.  (SntroidEelung.  By  Heinrich 
Renck,  MUnchen,  1907.  52  pp. 

2>ie  Sagebiicljer.  be§  ©rafen  21.  n.  platen,  aug  ber  ^anbfa^rift  beg 
2)idE)terg.  Edited  by  G.  v.  Laubmann  and  L.  v.  Scheffler,  Stuttgart.  Two 
volumes,  1896  and  1900.  One  of  the  most  important  diaries  written  in 
German. 

READING    LIST 

1823.  35er  gltiferne  ^cmtoffel,  heroic  comedy  in  5  acts,  75  pp. 
1824...  2)er  @cf)a£  beg  Slljampfinit,  comedy  in  5  acts,  65  pp. 
1826.  2)ie  DerljangnigDolle  ©abel,  comedy  in  5  acts,  85  pp. 
1829.  2)er  romantifdje  Debipng,  comedy  in  5  acts,  85  pp. 

[128] 


THE  SIDE  LIGHTS 

1835.  ©ebtcf)te.  Platen  began  to  publish  poems  as  early  as  1817.  He 
tried  many  different  forms  successfully.  He  wrote  odes,  bal- 
lads, romances,  epic  poems,  poetic  epigrams,  Persian  ghazals, 
and  so  on.  His  poems  have  been  set  to  music  rarely;  Lowe, 
Brahms  and  Kahn  are  the  only  composers  of  any  importance 
who  have  written  music  for  his  rigid  verses. 


FERDINAND  RAIMUND 

Born  June  i,  1790,  at  Mariahilf,  a  suburb  of  Wien.  Poorly 
educated.  Placed  as  an  apprentice  in  a  candy  and  cake  store 
that  supplied  the  Burgtheater  with  refreshments ;  in  this  way 
"introduced"  to  the  theatre.  Became  an  actor  in  1808  and 
spent  his  life  playing  and  writing  plays.  Engaged  in  1813  at 
the  Josef  stadtertheater  in  Vienna,  1817  at  the  Leopoldstadter- 
theater.  Played  guest  roles  in  the  leading  theatres  of  Miinchen, 
Hamburg  and  Berlin  in  1830,  1832,  1835,  1836,  with  great  suc- 
cess. Always  wanted  to  become  a  tragedian  and  to  write  trage- 
dies; spent  his  life  playing  comic  roles  and  writing  comedies. 
Frequently  employed  allegory.  Married  unhappily  in  1820. 
Had  no  personal  connection  with  the  Romantic  movement. 
Pictured  the  better  side  of  people  in  his  plays.  The  opposite 
of  Nestroy  in  some  ways,  of  whose  success  he  was  extremely 
jealous.  Has  been  called  the  <2d)iller  ber  Sofalftiicfe.  Took  his 
life  at  Pottenstein,  September  5,  1836. 

BIBLIOGRAPHY 

^•erbtnanb  9taimunb§  fammtlidfje  SBerfe.  Edited  by  Carl  Glossy  and 
August  Sauer,  Wien,  1881.  Three  volumes. 

©efammelte  Sieben  unb  Stuff a|e.  By  August  Sauer,  Wien,  1903. 
400  pp.  Raimund,  pages  231-274. 

3»m  Sflf^unbert  ©riUparjer^.  By  Adam  Miiller-Guttenbrunn,  Wien, 
1893.  233  pp.  Raimund,  pages  97-116. 

9iaimunb§  3Berfe.  One  volume  in  3  parts,  edited  with  biographical 
introduction  and  special  introductions  to  the  separate  works  by  Rudolf 
Fiirst,  Berlin,  no  year  (recent). 

[I29] 


OUTLINE  OF  GERMAN  ROMANTICISM 

READING  LIST 

1824.   Set  ©iamant  be3  ©eifterfonigS,  dramatic  extravaganza,  no  pp. 

1826.   2)er  Sailer  a!3  SJMUionar,  Romantic  fairy  drama,  100  pp. 

1828.  2>er  SHpenfonig  unb  ber  3Wenfrf)enfeinb,  Romantic  fairy  drama, 

240  pp. 
1834.  Set  SSerfrfjroenber,  fairy  drama,  155  pp.    (His  best  work.) 


JOHANN  MICHAEL  FRIEDRICH  RUCKERT 

Born  May  16,  1788,  at  Schweinfurt  am  Main  ;  his  father  was 
a  lawyer.  He  spent  a  happy  childhood  at  Oberlauringen  from 
1792  to  1802.  Studied  at  the  gymnasium  of  Schweinfurt  from 
1802  to  1805.  Entered  the  University  of  Wtirzburg  in  1805 
to  study  law,  but  soon  took  up  philology.  Studied  then  at 
Heidelberg,  Gottingen  and  Jena ;  from  Jena  he  received  the 
privilegium  legendi  on  March  30,  1811.  He  left  Jena  after  two 
semesters  and  became  a  professor  at  the  gymnasium  of  Hanau  ; 
left  here  at  the  end  of  the  first  year  and  went  to  Wiirzburg.  Ill 
health  prevented  his  participation  in  the  campaigns  against 
Napoleon  in  1812  and  1813.  Editor  of  the  Cotta  Morgenblatt 
in  Stuttgart  from  1815  to  1817.  Went  on  a  journey  then  through 
Switzerland ;  went  to  Rome,  associated  with  the  Romantic  artists 
then  living  there.  In  1818  he  went  to  Vienna,  where  he  studied 
Arabic,  Turkish  and  Persian  under  Hammer-Purgstall.  Returned 
home  and  married  (Dec.  26,  1821)  Luise  Wiethaus- Fischer.  His 
domestic  life  was  extremely  happy.  At  the  suggestion  of  King 
Ludwig  of  Bavaria  he  was  appointed  professor  extraordinary  of 
Oriental  languages  at  the  University  of  Erlangen  in  1826,  where 
he  remained  until  1841,  when  Friedrich  Wilhelm  IV  called  him 
to  the  University  of  Berlin  in  a  similar  capacity.  Berlin  had  but 
little  attraction  for  him  as  a  place  in  which  to  live.  He  lectured 
during  the  winter  semesters  and  lived  at  Koburg  in  the  sum- 
-mer.  In  1848  he  left  Berlin  entirely  and  retired  to  Koburg. 
His  seventy-fifth  birthday  was  solemnly  celebrated  throughout 

[130] 


THE  SIDE  LIGHTS 

Germany.  Only  a  scholar  and  lyric  writer ;  as  a  lyric  poet,  he  is 
quantitatively  Germany's  greatest.  No  other  German  ever  wrote 
so  many  poems  on  such  a  wide  range  of  topics.  He  wrote  too 
much  and  filed  too  little,  so  that,  though  some  of  his  poems  are 
the  most  beautiful  in  the  German  language,  others  are  ragged. 
He  poetized  anything,  and,  like  Herder,  looked  upon  poetry  as 
a  universal  affair.  Though  he  poetized  the  life  of  the  child  and 
the  home,  he  has  never  become  a  popular  poet;  yet  his  lyrics 
have  found  favor  with  Robert  and  Clara  Schumann,  Schubert, 
Radecke  and  Brahms.  He  wrote  much  on  events  of  the  day. 
The  War  of  Liberation  inspired  nothing  superior  to  his  ®ef)ar= 
nifdjte  Sonette.  A  foe  of  sentimentality  and  bombast,  he  was 
nevertheless  a  friend  of  Jean  Paul,  as  he  was  also  of  Fouque 
and  G.  Schwab,  and  had  great  influence  on  Platen.  He  used 
more  forms  in  his  lyrics  than  did  Tieck  or  the  Schlegels  or 
Eichendorff  or  Uhland ;  he  was  wiser  than  Novalis  or  Holderlin. 
The  two  things  that  connect  him  most  immediately  with  Roman- 
ticism are  the  verse  and  strophe  forms  he  made  popular,  or  in- 
troduced, and  the  number  of  languages  he  knew.  In  this  respect, 
he  was  the  visible  embodiment  of  the  aims  and  ideals  of  the 
older  Romanticists.  He  used  the  sonnet,  terza  rima,  Ottawa 
rima,  ritornello,  siciltana,  tenzone,  ghazal,  rubai,  sloka,  makamah, 
and  other  odd  forms.  As  to  his  linguistic  knowledge,  Fr.  Kummer 
says:  ©r  ttwr  nidjt  nur  be§  ©riednfdjen,  Sateinifcfyen,  ber 
mobernen  unb  f(at>ifd)en  @prad)en  SKeifter,  fonbern  er  fjatte 
fid)  aud)  be£  ^Serfifdjen  berart  bemadjttgt,  baft  er  perfifd)  btd)ten 
fonnte ;  er  fang  bie  Sieber  ber  9traber  nad)  unb  beroaltigte  ba§ 
@an§frit,  bie  fjeilige  (£prad)e  ber  ^nber,  bci5u  befyerrfdite  er 
nodi)  ba§  ®urbifd)e,  9lrmenifd)e,  9lfg^anifd)e,  bie  <Sprad>e  ber 
3enbaPefta,  ba§  SDMaifdje,  £iirfifdje  unb  ®optifd)e,  bie  33erber= 
fprad)e,  ba3  5ttbanifd)e,  8ittauifd)e  unb  ginnifdje,  enblid)  ba§ 
•S^rifc^e,  G^atbaifd)e  unb  §ebraifd)e.  Yet  with  all  this  he  was  a 
genuine  German  of  Franconian  blood.  One  can  most  reasonably 
say  that  with  his  death  Romanticism  as  a  movement  was  over. 
He  died  at  Koburg,  January  31,  1866. 

[131] 


OUTLINE  OF  GERMAN  ROMANTICISM 

BIBLIOGRAPHY 

$riebrtcf)  9tucf  ertg  £eben  unb  2)idv)tungen.   By  Conrad  Beyer,  Koburg, 

1866.  302  pp. 

$riebridE)  Stiidert.  ©in  33iograpf)ifdje3  Senfmal.  By  Conrad  Beyer, 
Frankfurt  am  Main,  1868.  471  pp. 

.  griebritf)  SJiidert  unb  feine  SBerfe.   By  A.  R.  K.  Fortlage,  Frankfurt 
am  Main,  1867.    182  pp. 

SDidjter,  ^atriardf)  unb  fitter.  2Ba&,rl)eit  ju  9tiidEert§  £>id)tung.  By 
Karl  Kiihner,  Frankfurt  am  Main,  1869.  208  pp. 

^riebridj  StiicEert.   ©in  beutfdjer  Sifter.    By  Paul  Mobius,  Leipzig, 

1867.  16  pp. 

$riebrttf)  31ucfert  in  ©rlangen.    By  Friedrich  Reuter,  Altona,  1888. 

63  pp- 

griebriti)  StiicEert  unb  jeine  Sebeutung  al§  ^ugenbbid^ter.  By  Eugen 
Herford,  Thorn,  1893.  Pages  33  to  52.  (In  a  ^rogramm.) 

^riebrid)  S^iidfert  al^  Sgrifer.   By  J.  E.  Braun,  Siegen,  1844.   116  pp. 

griebrid)  3iiidertg  ©ebanlenlijril  nad)  ifjrem  p^ilofop^ifdjen  3nf)alte 
bargeftellt.  By  L.  G.  Voigt,  Annaberg,  1897.  no  pp. 

3u  3ii'tdEert§  SSergf unft.  By  Ernst  Symons,  Berlin,  1876.  31  (quarto)  pp. 

9ieue  9Jlittf)eiIungen  iifier  griebrid)  Stiidfert.  By  Conrad  Beyer,  Leip- 
zig. 1873.  S32  PP- 

5Riid!ert=3llad)lefe.  Published  by  Leopold  Hirschberg,  ^Weimar,  1911. 
Two  volumes  in  the  series  of  the  "  Gesellschaft  der  Bibliophilen,"  well 
printed  and  annotated. 

©rlduterungen  ju  ^riebrid)  3lMert§  ©ebid)ten  in  2lu^n>a^l.  By  Georg 
Funk,  Leipzig,  1907.  220  pp. 

3lucfert=<Stubien.   By  Robert  Boxberger,  Gotha,  1878.    315  pp. 

^•riebrid^  3Juclert§  SBerle.  Edited  by  Ludwig  Laistner,  6  volumes, 
Stuttgart  (Cotta),  no  year  (1895).  The  most  convenient  place  to  read 
Riickert. 

j^riebrid)  3tiicfert§  poetifd)e  SCBerfe.  Twelve  volumes  in  10  parts,  Frank- 
furt am  Main,  1882.  Uncritical  but  fairly  complete.  Contains  Riickert's 
dramatic  poems.  Impressive  as  a  collection  of  poems  by  one  poet. 

READING    LIST 

1813.  $unf  SDtarlein,  popular  poems  for  children,  14  pp. 

1814.  2)eutfd)e  ©ebidjte  Don  ^reimunb  3?aimar  (Riickert's  pseudonym), 

includes  the  "  Geharnischte  Sonette,"  about  100  pp. 
1834.  Siebe^frii^Ung,  about  300  pp. 

[132] 


THE  SIDE  LIGHTS 

1837.  2Jtafatnen  beg  jQariri,  about  300  pp. 

1839.  2Beisf)eit  beg  SBrafymcmen,  about  600  pp.,  Cotta,  Volumes  5  and  6. 
Riickert  wrote  also  dramas  entitled  "  Napoleon,"  "  Saul  und 
David,"  "  Herodes  der  Grosse,"  "  Heinrich  IV  "  and  "  Christo- 
fero  Colombo."  But  these  are  only  dramatic  "  poems."  All  of 
his  works  are  poems.  He  wrote  poems  for  over  50  years. 


GOTTLOB  FERDINAND  MAXIMILIAN  GOTTFRIED 
SCHENK  VON  SCHENKENDORF 

Born  December  n,  1783,  at  Tilsit.  Father  a  military  official, 
mother  daughter  of  a  preacher.  Entered  the  University  of 
Konigsberg  in  1798,  left,  however,  soon  after  and  studied 
under  a  country  vicar;  returned  to  Konigsberg  in  1804,  then 
studied  farming  at  Waldau  and  returned  to  Konigsberg  after 
passing  his  state  examination  in  1806.  Associated  with  Frau  von 
Kriidener,  who  had  some  influence  on  him  by  way  of  increasing 
his  mystic  tendencies,  and  Jung-Stilling.  Moved  to  Karlsruhe, 
where  he  married  in  1812.  Was  present  at  the  battle  of  Leipzig, 
could  not  take  active  part,  however,  since  he  had  previously  lost 
the  use  of  his  right  hand  in  a  pistol  duel.  Was  made  government 
councillor  at  Coblenz  in  1815.  Published  (1807)  at  Konigsberg 
with  Ferdinand  von  Schrotter  2)ie  58efta,  on  which  Fichte, 
Arnim  and  J.  D.  Gries  also  worked.  Resembles  Arndt  and 
Korner,  but  is  deeper,  truer,  more  poetic,  more  fanciful  than 
they.  Strove  always  for  a  united  Germany.  One  people,  one 
empire,  one  language,  one  God  was  his  slogan.  Connected 
with  Romanticism  by  his  mediaeval  visions,  his  mysticism,  his 
amalgamation  of  religion  and  patriotism.  Died  at  Coblenz, 
December  n,  1817. 

BIBLIOGRAPHY 

3Jtor.  con  ©djenfenborfg  Se&en,  2)enfcn  unb  Sicfjten.  By  E.  A.  Hagen, 
Berlin,  1863.  251  pp. 

Gin  Seitrag  ju  einer  SMograpfyie  2JJar  Don  ©cfjenfenborfg.  By  Alex- 
ander Drescher,  Mainz,  1888.  35  (large)  pp. 

[133] 


OUTLINE  OF  GERMAN  ROMANTICISM 

9teue  SBettrage  gu  2Jtar.  con  @d&enfenborf§  Se&en,  SDenfen  unb  Sid&ten. 
By  Paul  Czygan,  in  Euphorion,  1906,  pages  787-804;  1907,  pages 
84-101,  338-349,  577-587- 

$u  'SHai  con  ©djenfenborfg  ©ebtdjten.  By  Robert  Sprenger,  in 
Zeitschrift  fur  deutsche  Philologie,  1904,  pages  236-244. 

ajlaj  oon  <Sdjenfenborf3  jantmtlid^e  ©ebid^te.  First  complete  edition, 
Berlin,  1837.  394  pp. 

READING    LIST 

1817.  ©ebttfjte  oon  2JJar.  oon  ©rfjenlenborf.  Halle,  no  year.  232  pp. 
Contains  a  brief  biographical  sketch  and  scanty  notes.  Poems 
are  carefully  divided  into  four  chronological  periods :  Konigs- 
berg,  1806-12  ;  Karlsruhe,  1813  ;  Karlsruhe,  Aachen,  1814-15; 
Coblenz,  1815-17.  Contains  also  a  number  of  poems  on 
Schenkendorf  by  Arndt,  Fouque,  Friedlander,  and  Eberhard 
von  Groote.  Of  Schenkendorf's  poems,  the  following  ten  are 
the  best  known :  2ftutterfpratf)e ;  ©in  ©artner  ge&t  im  ©arten ; 
Set  ©anbtoirt  oon  "pajjener;  ©3  fltngt  ein  fjeller  £lang;  ^icei* 
^eit,  bte  id^  meine;  3"  oem  railben  ^rtegegtanje ;  ^laget  md)t, 
ba^  id9  gefallen;  3Benn  alle  untreu  roerben;  2Cie  mir  beine 
Reuben  roinlen ;  S«  bie  5erne  tnod^t'  id)  jief)en. 


ERNST  KONRAD  FRIEDRICH  SCHULZE 

Born  March  22,  1789,  at  Celle  in  Hannover.  Entered  the 
University  of  Gottingen  in  1806  to  study  theology,  but  soon 
turned  to  philology  and  found  a  worthy  patron  in  Bouterwek. 
Fell  in  love  with  Cacilie  Tychsen,  after  whom  he  titled  his  epic. 
She  died  in  1812,  and  he  became  a  volunteer  (1813)  in  a 
Hannoverian  regiment  and  fought  against  Davoust  in  Hamburg. 
Returned  to  Gottingen,  made  a  tour  along  the  Rhine  in  1816. 
Taking  his  cue  from'  Novalis's  "  Ofterdingen,"  Schulze  repre- 
sented a  sort  of  compromise  between  Wieland  and  the  Romanti- 
cists ;  he  called  himself  an  opponent  of  the  false  Romanticists. 
He  was  the  favorite  poet  of  women  from  1815  to  1840.  His 
poetry  is  smooth  and  rhythmical  in  form  without  having  sub- 
stantial and  interesting  content.  He  died  at  Celle,  June  26, 1817. 

[134] 


THE  SIDE  LIGHTS 

BIBLIOGRAPHY 

©dmmtlic^e  poetise  SBerfe  Don  ©rnft  ©djulje.  Edited  by  F.  Bouter- 
wek,  Leipzig,  1822.  Four  volumes  in  2  parts.  Biographical  introduction 
in  Volume  i,  pages  i  to  xviii. 

©rnft  ©djuIjeS  Sejcwfcerte  SRofe.  By  Adalbert  Silbermann,  Berlin, 
1902.  50  pp. 

READING    LIST 

1818.   Gdctlie,  romantic  epic  in  20  cantos,  724  pp. 
1818.  2)ie  feejauberte  9fofe,  romantic  poem  in  3  cantos  (prize  poem), 
84  pp. 

GUSTAV  BENJAMIN  SCHWAB 

Born  June  19,  1792,  at  Stuttgart,  son  of  a  professor  at  the 
Karlsschule.  Studied  (1809-1814)  philosophy,  philology  and 
theology  at  the  University  of  Tubingen.  Travelled  (1815-1817) 
through  Germany  and  met  practically  all  the  men  of  letters 
of  his  time.  Married  in  1818.  Professor  at  the  gymnasium  of 
Stuttgart  from  1820  to  1837.  Became  then  a  pastor  at  Goma- 
ringen  near  Tubingen.  Visited  Switzerland  and  Scandinavia. 
Received  various  titles,  among  others  doctor  of  theology  from 
Tubingen.  A  disciple  of  Uhland  and  one  of  Uhland's  greatest 
admirers.  An  uncommonly  active  man :  preacher,  teacher,  poet, 
translator,  investigator,  critic,  editor.  A  lyric  writer  of  mediocre 
ability ;  more  rhetorical  than  fanciful.  Helped  other  poets, 
especially  Wilhelm  Miiller  and  Hauff.  His  best  work  was  done 
with  Chamisso  as  editor  of  the  Deutscher  Musenalmanach 
(1833-1838).  His  "  Schillers  Leben"  (1840)  has  been  super- 
seded without  being  forgotten.  His  collection  of  "  Deutsche 
Lieder  und  Gedichte  von  A.  v.  Haller  bis  auf  die  neueste  Zeit " 
(1840)  is  still  instructive.  His  anthology  of  "  Deutsche  Prosa 
von  Mosheim  bis  auf  unsere  Tage"  (1843)  ig  s^  a  useful 
manual.  His  "  Deutsche  Volksbiicher  "  (1847),  in  which  he  re- 
tells the  fifteen  most  important  old  German  stories,  "  Genoveva," 
"  Heymons  Kinder,"  etc.,  is  still  readable.  Died  at  Stuttgart, 
November  4,  1850. 

[135] 


OUTLINE  OF  GERMAN  ROMANTICISM 

BIBLIOGRAPHY 

©uftao  <Scf)tt)a6.  @etn  ^eben  unb  SBtrfen.  By  Karl  Klupfel,  Leipzig, 
1858.  399  pp.  Contains  a  complete  list  of  Schwab's  writings,  literary 
and  scientific,  and  an  excellent  index  of  names.  Indispensable  for  a 
study  of  Schwab. 

3ur  ©rinnerung  an  ©uftao  ©tfjroab.  (1792-1892).  Stuttgart,  1892. 
•J2  (quarto)  pp.  Contains  poems,  addresses  and  so  on. 

READING    LIST 

1850.  QhtftciD  @cf)n)a&3  ©ebtdjte.  Edited  by  Gotthold  Klee,  Giitersloh, 
1882.  452  pp.  Biographical  introduction,  pages  i  to  57.  The 
best  place  to  read  Schwab's  poems.  Some  of  his  best  known 
poems  are  2)er  better  unb  ber  Sobenfee;  SHeb  eine3  abjief)en= 
ben  33urfd)en;  2ln  ber  Quelle. 


ALBERT  (ADALBERT)   STIFTER 

Born  October  23,  1805,  at  Oberplan  in  the  Bohemian  Forest. 
Father,  a  weaver,  fond  of  reading,  died  in  1817.  Entered  the 
gymnasium  of  Kremsmiinster  in  1818,  the  University  of  Wien 
in  1826.  Studied  law,  art,  philosophy  and  natural  sciences  and 
supported  himself  by  giving  private  lessons.  Passed  in  1830  the 
written  examination  for  teaching  but  was  too  timid  to  attempt 
the  oral  test.  Married  (1837)  Amalie  Mohaupt.  Famous  from 
1840  on  as  a  narrator.  Moved  to  Linz  in  1848,  became  inspector 
of  schools  in  1849.  Received  the  medal  for  art  and  science  in 
1850  and  was  made  a  member  of  the  Franz  Joseph  Order  in 
1854.  Became  a  sort  of  recluse  in  his  later  years.  His  marriage 
was  childless  but  happy.  The  war  of  1866  disturbed  him  greatly. 
Related  to  Romanticism  by  his  detailed  description  of  nature 
and  his  Catholicism.  The  poet  par  excellence  of  the  Bohemian 
Forest.  Learned  from  Jean  Paul  and  E.  T.  A.  Hoffmann,  and  was 
admired  and  studied  by  Storm,  Raabe,  Saar,  Ebner-Eschenbach 
and  Nietzsche.  Died  at  Linz,  January  28,  1868. 

[136] 


THE  SIDE  LIGHTS 

BIBLIOGRAPHY 

Stbalbert  ©tifter;  ein  SBUb  be3  2>idE)ter3.  By  Immanuel  Weitbrecht, 
Leipzig,  1887.  21  pp. 

3roei  Sifter  DfterreidjS,  5ranS  ©riHparser,  SHbalbert  ©tifter.  By 
Emil  Kuh,  Pest,  1872.  516  pp. 

©tubien  ju  2lbalbert  ©tifterS  9>iot>enented)nif.  By  Ernst  Bertram, 
Dortmund,  1907.  160  pp.  Contains  bibliography  of  21  titles. 

3ur  fprad&lidjen  Zefynit  ber  Dtooellen  Slbalbert  ©tifterS.  By  Ernst 
Bertram,  Bonn,  1907.  66  pp. 

©in  Seitrag  ju  Slbalbert  ©tifterS  ©til.  By  Franz  HUller,  1909.  In 
Euphorion,  Volume  16,  pages  136-147  and  460-471. 

Slbalbert  ©tifterS  au§gerodf)Ite  2Berfe.  Edited  by  Rudolf  Furst,  6  vol- 
umes in  2,  Leipzig  (Hesse),  no  year.  Biographical  introduction  in  Vol- 
ume i,  pages  1-lv.  The  best  abridged  edition;  contains  his  main  works, 
except  "  Der  Nachsommer  "  (1857). 

©tubien  oon  3lbalbert  ©lifter.  Edited  by  Stifter,  numerous  excellent 
illustrations  by  Franz  Hein  und  Fr.  Kallmorgen,  Leipzig,  1905  (jd  ed.), 
3  (large)  volumes.  Contains  13  of  Stifter's  stories. 

2lbttlbert  ©tifter.  By  Alois  Raimund  Hein,  Leipzig  (Reclam),  no  year 
(1912).  119  pp.  Volume  16  in  the  series  of  "  Dichterbiographien." 
Contains  a  picture  of  Stifter  and  a  good  index  of  names  and  themes. 

READING    LIST 

\  1840.  ®a3  Jpeibeborf,  narrative,  53  pp. 
1844.   2)er  SOBalbfteig,  narrative,  58  pp. 

1844.  2lu3  bem  alten  2Bien.  2lit3  bem  Sanrifdjen  SBalbc,  poetized  remi- 
niscences in  prose,  175  pp. 
1847.  Set  SBalbganger,  story  in  prose,  82  pp. 


WILHELM  FRIEDRICH  WAIBLINGER 

Born  November  21,  1804,  at  Heilbronn,  son  of  a  provincial 
governor.  Entered  (1819)  the  gymnasium  of  Stuttgart,  where 
Schwab  was  his  teacher;  the  University  of  Tubingen  (1821), 
where  he  became  acquainted  with  Holderlin.  Morike  could 
not  endure  him  because  of  his  sophomoric  tendencies.  His  jour- 
neys to  Italy  did  not  bring  him  the  desired  betterment  from  the 

[137] 


J 


OUTLINE  OF  GERMAN  ROMANTICISM 

point  of  view  of  literary  restraint.  Personally  acquainted  with 
Dannecker,  Haug,  the  Boisserees,  Ludwig  Bauer  and  Matthisson. 
Influenced  Morike,  was  influenced  by  Holderlin  and  imitated 
Byron.  Lived  a  wild  sort  of  life,  was  very  vain,  is  now  possibly 
less  read  than  any  other  Romanticist.  He  died  in  Rome, 
anuary  17,  1830. 


BIBLIOGRAPHY 


SBiHjdm  2Baifclinger3  gefamntelte  SBerfe.  Edited  by  H.  v.  Canitz, 
9  volumes  in  3,  Hamburg,  1839-1840.  Waiblinger's  life  is  found  in 
Volume  i,  pages  i  to  171.  Hebbel  reviewed  this  edition.  Morike 
brought  out  a  revised  edition  of  his  poems  in  1844,  Eduard  Grisebach 
has  also  published  selections  from  his  works,  and  "  Die  Briten  in  Rom  " 
can  be  had  in  a  Reclam  edition. 

SBUfyelm  SBatbltnger.  @ein  Seben  vtnb  fcine  SBerfe.  By  Karl  Frey, 
Aarau,  1904.  153  pp. 

Seitrtige  jur  £ttter.aturgefdE)trf)te  <Scf)roaben3.  By  Hermann  Fischer, 
Tubingen,  1891.  Volume  i,  pages  148-179. 

READING    LIST 

1826.   £)ret  Xage  in  ber  Unterroelt,  satire  in  prose  on  the  Romanticists, 

75  PP- 

1829.  2lnna  Sullen,  £6nigin  von  ©nglanb,  tragedy  in  5  acts,  178  pp. 

1830.  ©ebtd^te,  dating  back,  298  pp.    Volume  7  of  his  complete  works. 

Very  few  of  his  poems  are  now  read.  It  is  difficult  to  secure  a 
copy  of  his  novel  "  Phaeton  "  (1823),  which  was  strongly  influ- 
enced by  Holderlin.  He  also  wrote  "  Friedrich  Holderlins 
Leben,  Dichtung  und  Wahnsinn,"  "  Wanderungen  in  Italien," 
"  Das  Marchen  von  der  blauen  Grotte." 


[138] 


SECTION  IX 

THE  WRITERS  OF  YOUNG  GERMANY 

From  I766_to  1866  intellectuality  was  fm  fhp  rrpnf  of 
the  wave  in  Germany.  During  such  an  age  it  frequently 
happens  that  men  of  thought  and  reason,  men  of  imagi- 
nation and  fancy,  become  dissatisfied  with  the  world  as  it 
is^because  it  does  not  correspond  to  the  particular  ideals 
which  they  themsplv^g  hr*vp  gpt  up.  And  when  this  hap- 
pens these  same  men,  or  their  younger  brothers,  fre- 
quently become,  in  course  of  time,  dissatisfied  with  the 
ideals  that  have  been  set  up  because  there  is  no  world  for 
their  ideals  to  correspond  to.  It  was  partly  the  first  situa- 
tion that  gave  rise  to  German  Romanticism  ;  it  was  largely 
the  second  that  gave  rise  to  the  movement  known  as 
"Young  Germany."  By  1830  Romanticism  as  a  move- 
ment had  about  stagnated,  while  its  immediate  and  im- 
patient and  refractory  heirs,  the  poets  of  Young  Germany, 
were  just  beginning  their  campaign. 

The -Romanticists  had  sought  their  ideals  not  in  the 
world  about  them,  but  in  their  own  imagination.  In  a 
number  of  instances  the  sun  gave  way  to  the  moon,  day  to 
night,  sgf'ng  to  hearing,  reason  to  romance.  Politics 
tired  before  the  fairy  tale,  history  was  supplanted  by  legend, 
dreams  and  premonitions  as  well  as  the  tricks  and  pranks 
of  sprites  and  fairies  were  memorialized.  Chivalry,  monas- 
ticism  and  exaggeration  characterized  the  age.  A  reaction 

[139] 


OUTLINE  OF  GERMAN  ROMANTICISM 

was  inevitable ;  and  it  came  with  all  its  pent-up  energy 
about  1830  and  lasted  till  about  1840  or  1848. 

In  broad  outline,  the  following  events  ushered  in  the 
new  movement:  the  French  revolution  of  July,  1830, 
which  removed  the  Bourbon  house  forever  from  France ; 
the  unsuccessful  attempt  on  the  part  of  the  more  important 
German  states  to  secure  constitutions ;  the  successful 
scheming  on  the  part  of  Metternich  to  prevent  them  from 
securing  constitutions;  the  establishment  (June  13,  1815) 
of  the  German  33urfd)en)c&aft  with  political  aims  and  ideals 
that  were  as  vague  as  they  were  harmless,  but  which 
seemed  to  the  timid  politicians  of  the  time  to  be  directed 
against  the  government ;  the  Wartburg  Celebration  (Oct. 
18,  1817);  the  murder  of  Kotzebue  (March  23,  1819); 
the  Resolutions  of  Karlsbad  (1819);  the  Ultimata  of 
Wien  (1820);  Hegel's  lectures  at  Berlin  (1818-1831); 
the  teachings  of  D.  F.  Strauss,  F.  C.  Baur,  L.  Feuerbach, 
Bruno  Bauer,  Dahlmann,  Ranke,  Paul  Pfizer ;  the  death 
of  Goethe  (March  22,  1832)  ;  the  Celebration  at  Hambach 
(May  27,  1832) ;  the  literature  of  Lord  Byron  ;  the  open- 
ing of  the  first  German  railroad  (Dec.  7,  1835).  These 
events  and  the  far-reaching  incidents  connected  with  them 
brought  about  the  oppositional  literature  of  Young  Germany. 

Though  very  German  in  name  and  purpose,  the  idea 
was  an  imitation  of  Giovine  Italia  and  Jeune  France.  In 
a  letter  to  Cotta  (1833),  Gutzkow  spoke  of  a  Jeune  Alle- 
magne,  and  in  1834  Ludolf  Wienbarg  dedicated  his 
"  Asthetische  Feldziige  "  expressly  to  2)cm  jungen  5)eiitfct)= 
lanb,  unb  mcljt  bcm  altcn.  On  December  10,  1835,  the  Aus- 
trian ambassador,  Count  Miinch-Bellinghausen,  ordered 
the  suppression  of  the  literature  of  this  abominable  coterie. 

[  HO] 


THE  WRITERS  OF  YOUNG  GERMANY 

He  picked  out  for  special  condemnation  Gutzkow's  "Wally" 
and  Wienbarg's  "  Feldziige."  He  included  in  the  union 
Heine,  Gutzkow,  Wienbarg,  Mundt  and  Laube.  These 
men,  however,  never  formed  any  sort  of  school ;  they  were 
contemporaries  ;  they  were  thoroughly  dissatisfied  with  the 
existing  order  of  things  ;  they  saw  that  the  ruled  had  more 
brains  than  the  rulers  ;  they  used  their  pens  in  the  service 
of  a  righteous  freedom  that  their  swords  had  already  won. 
As  to  what  Young  Germany  stood  for  and  against, 
Alfred  Biese  has  the  following  highly  apposite  paragraph  : 

5lIIcn  crjd)icn  bafjcr  bte  SBelt  mefjr  obcr  tocntger  tine  ^>ant= 
let:  fd)al,  f(ad)  unb  unerfpricfjtidj.  2>te  tiefe  Un5ufriebenfjcit 
nut  bent  $Befte()cnbcn  in  <Staat  unb  fttrdje,  ba§  Stebaugeln  nut 
ber  9teDotution  unb  bem  Umfturj  aEer  SBertjaltntffe,  ber  ®o§= 
ntopolttt3mu3,  ber  in  granfreid),  in  ber  ^Sotittf  unb  Siteratur 
biefe3  SanbeS,  ba§  %bzal  fieljt  unb  ncbenfjer  fiir  Sorb  S3t)ron 
unb  S3uttt)er  f^roarmt,  enbltcl)  aud)  ba3  (Suangelium  ber  (Sman= 
5ipation  be3  5tci|(J)e§r  ba§  ja  jd)on  5U  33egtnn  ber  romantt|d)cn 
Gpod^e  aufgetaud)t  loar,  nun  aber  mtt  ticrftarftcr  (Sinbringlid)= 
fett  h)teber  auflebte,  —  ba§  ift  e§  ungefa^r,  tt>a§  ber  2tteratur 
be§  /jungen  Seutfdjlanby"  ben  3nf)ait  gtbt.  2)a§  gormtbeat 
ber  neuen  Si^ule  abcr  tturbe  ber  tni^ige  unb  tronifdje  Jon,  ttiie 
ifjn  §etne  mctfter^aft  fjanbfjabte,  etne  ©etftretd)igfcitf  bic  fid^ 
nur  aHju^auftg  auf  Soften  ber  2Safjrf)eit  breit  mad^te.  .  .  . 
Sfjre  eigcntlid^e  Itterartjdje  SSelt  ift  bie  ^reffe. 

BIBLIOGRAPHY 

Sag  junge  2)eutfd^Ianb.  By  Johannes  Proelss,  Stuttgart,  1892.  804  pp. 
Rich  in  content,  but  has  no  index. 

Young  Germany.  By  Georg  Brandes,  New  York,  1905.  411  pp. 
This  is  Volume  6  in  Brandes's  "  Main  Currents  in  Nineteenth  Century 
Literature."  It  is  about  the  best  volume  in  the  series ;  the  author  was 
very  much  in  sympathy  with  his  subject.  It  is  a  brilliant  book  though 


OUTLINE  OF  GERMAN  ROMANTICISM 

not  so  sound  as  those  by  Proelss  and  Houben.  It  was  translated  by 
Mary  Morison.  In  addition  to  general  topics,  it  treats  Borne,  Heine, 
Goethe,  Immermann,  Hegel,  Gutzkow,  Laube,  Mundt,  Menzel,  Rahel, 
Bettina,  Charlotte  Stieglitz  and  Friedrich  Wilhelm  IV. 

2jitngbeutftf)er.  (Sturm  unb  3)rang.  (Srlefomfje  unb  ©tubien.  By  H.  H. 
Houben,  Leipzig,  1911.  704  pp.  This  is  a  most  scholarly  book.  In 
addition  to  general  topics,  it  treats  Menzel,  Borne,  Heine,  Wienbarg, 
Laube,  Mundt,  Gutzkow,  Varnhagen  von  Ense,  Gustav  Schlesier,  Gustav 
Kiihne  and  Alexander  Jung.  By  the  widest  stretch  of  the  imagination, 
the  last  three  cannot  be  considered  of  "  literary "  importance,  and 
Heine,  who  was  in  Paris  during  the  entire  time,  has  been  placed  in  our 
treatment  among  the  regular  Romanticists.  Georg  Biichner  is  added  to 
the  list  below  for  evident  reasons.  The  student  who  reads  these  three 
works  will  be  sufficiently  informed. 


KARL  AUGUST  VARNHAGEN  VON  ENSE 

Born  February  21,  1785,  at  Diisseldorf ;  died  October  10, 
1858,  at  Berlin.  Studied  medicine,  philosophy  and  history  at 
Berlin,  Halle  and  Tubingen.  A  soldier  and  politician.  Had 
trouble  with  the  government.  Married  Rahel  Levin.  Coeditor 
with  Chamisso  of  Der  griine  Almanack.  Wrote  some  poems, 
but  was  primarily  a  writer  in  prose.  Was  one  of  the  first  critics 
to  emphasize  the  importance  of  Goethe.  A  querulous  and  loqua- 
cious but  not  untalented  person. 

1843.  3>enfnwrbigfeiten  beg  eigenen  Se6en§  (2d  ed.)»  1012  pp. 


LOEW  BARUCH  (LuowiG  BORNE) 

Born  May  6,  1786,  at  Frankfurt  am  Main;  died  Feb- 
ruary 13,  1837,  at  Paris.  Studied  at  Berlin,  Halle,  Heidel- 
berg and  Giessen.  Became  a  Christian  and  changed  his  name 
in  1817.  Had  trouble  with  the  government.  Lived  from 
1830  on  in  Paris.  Edited  Die  Zeitschwingen,  Die  Waage  and 
La  Balance. 

[142] 


THE  WRITERS  OF  YOUNG  GERMANY 

liber  Subroig  33ornc.    By  Heinrich  Heine,  Hamburg,  1840.    132  pp. 
Subnrig  Some:  ©ein  &eben  unb  fein  SBtrfen  nadj  ben  Quellen  bar= 
geftellt.    By  Michael  Holzmann,  Berlin,  1888.   402  pp. 

1825.  JDenfrebe  cwf  %ean  ^Saul,  15  pp. 
1830-1833.  SBriefe  au§  $ari3,  717  pp. 


WOLFGANG  MENZEL 

Born  June  21,  1798,  at  Waldenburg  in  Silesia;  died  at  Stutt- 
gart, April  23,  1873.  Associated  with  Otto  Ludwig  Jahn, 
studied  philosophy  and  history  at  Jena  and  Bonn.  Connected 
with  the  Europaische  Blatter,  Cotta's  Literaturblatt  and  Deut- 
sche Vierteljahrsschrift,  Notorious  because  of  his  attacks  on 
Goethe.  He  was  not  a  consistent  member  of  Young  Germany. 

1836.  Seutfc^c  Siteratur,  597  pp. 

LUDOLF  CHRISTIAN  WIENBARG 

Born  December  25,  1802,  at  Altona;  died  at  the  same  place, 
January  2,  1872.  Studied  theology,  philosophy  and  philology 
at  Kiel,  Bonn  and  Marburg.  Became  (1834)  privatdozent  in 
aesthetics  at  Kiel,  where  he  delivered  the  lectures  afterwards 
published  under  the  general  title  "  Asthetische  Feldziige." 
This  book  was  dedicated  as  follows  :  ®ir,  jimge§  5)eut|d)Ianb, 
ttjibme  id)  bicfe  9teben,  nicht  bent  alten.  It  was  this  dedication 
that  gave  the  movement  its  name.  Coeditor  with  Gutzkow  of 
the  Deutsche  Revue. 

Subolf  9Bienborg  al3  jungbeutfdjer  Sftfjetifer  unb  $imftfritifer.  By 
Victor  Schweizer,  Leipzig,  1896.  92  pp. 

HEINRICH  LAUBE 

Born  September  18,  1806,  at  Sprottau  in  Silesia;  died  at 
Wien,  August  i,  1884.  Studied  theology  and  philosophy  at 
Halle  and  Breslau.  Made  a  member  of  the  National  Parliament 

[143] 


OUTLINE  OF  GERMAN  ROMANTICISM 

in  1848,  retired  in  1849.  Had  trouble  with  the  government. 
Edited  the  Zeitung  fur  die  elegante  Welt.  Director  of  the 
^pofburgt^cotcr  in  Wien  (1849-67).  Connected  with  other 
theatres  in  Wien  and  Leipzig.  Important  as  a  creative  writer. 


1837.  2)a3  junge  ©uropa:  S)ie  ^Soeten  (1833),  Ste  $rieger  (1837),  S)ie 

23iirger  (1837),  605  pp. 
1844.   ©truenfee,  tragedy,  229  pp. 
1846.  ©ottfdfjeb  unb  ©ellert,  comedy,  223  pp. 
1846.   ®ie  ^arBfdjiUer,  drama,  206  pp.  (Schiller  is  the  hero.) 
1856.   ©raf  (Sffer.,  tragedy,  186  pp. 

THEODOR  MUNDT 

Born  September  19,  1808,  at  Potsdam;  died  at  Berlin,  No- 
vember 30,  1  86  1.  Connected  with  Blatter  fur  literarische 
Unterhaltung,  Literarischer  Zodiakus,  Dioskuren  fur  Kunst 
und  Wissenschaft,  Der  Freihafen  and  Der  Pilot.  Professor  of 
general  literature  and  history  at  Breslau  and  then  at  Berlin. 
Had  trouble  with  the  government. 

Sfyeobor  2Jlunbt  unb  feine  Sestefjungen  sum  ^iungen  Seutfdfjlanb.  By 
Otto  Draeger,  Marburg,  1908.  58  pp. 

Xljeobor  2JZunbt  al3  Siterarljiftortter.  By  W.  Prinz,  1912.  78  pp. 

1832.  2ftabelon,  ober  bte  Slomantiler  in  ^ari§,  novelette,  246  pp. 

1844.  ©ie  ©efc^id^te  ber  ©efellfd^aft  in  ifyren  neueren  (Sntroidtelungen  unb 

^roblemen,  435  pp. 

1845.  &ie  3feee  *>et;  @<^onf)ett  unb  beg  j?unftn)erlg  im  2tcf)te  unferer  Qeit. 

390  pp. 


KARL  FERDINAND  GUTZKOW 

Born  March  17,  1811,  in  Berlin;  died  December  16,  1878, 
at  Sachsenhausen.  Studied  medicine,  philosophy  and  economics 
at  Berlin,  Heidelberg  and  Munich.  Had  trouble  with  the 
government.  Wrote  for  Menzel's  Literaturblatt  and  Cotta's 
Morgenblatt.  Edited  the  literary  supplement  of  Duller's  Phonix. 

[J44] 


THE  WRITERS  OF  YOUNG  GERMANY 

Edited  his  own  Telegraph  fiir  Deutsehland  and  Unterhaltungen 
am  hauslichen  Herd.  An  impetuous  and  flamboyant  person. 
Important  as  a  creative  writer. 

Gutzkow  et  la  jeune  Allemagne.    By  J.  Dresch,  Paris,  1904.    483  pp. 

5larl  ©ufcfon>§  ©tellung  jur  SRomanti!.  By  Bernhard  Rieffert,  Leip- 
zig, 1908.  54  pp. 

©ufcforoS  unb  2au6e3  Siteraturbramen.  By  Paul  Weiglin,  Berlin, 
1910.  173  ff. 


1835.  SOBaQt)  bie  3roetflerin,  novel,  327  pp. 
1844.    3°Pf  un&  ©djroett,  comedy  in  5  acts,  70  pp. 
1844.  2>a3  Urbilb  be3  Sartiiffe,  comedy  in  5  acts,  76  pp. 
1846.   Uriel  3lcofta,  tragedy  in  5  acts,  62  pp. 

1849.    ®er  ^'ontgSleutnont,  comedy  in  4  acts,  85  pp.     (Goethe  is  the 
hero.) 

GEORG  BUCHNER 

Bom  October  17,  1813,  at  Goddelau  near  Darmstadt;  died 
at  Zurich,  February  19,  1837.  Studied  science  at  Strassburg. 
Had  trouble  with  the  government.  Edited  the  Hessische  Land- 
boten.  Became  privatdozent  in  literature  at  Zurich. 

©eorg  93iirf)ner§  Sratna  W35anton§  Xob^.  By  Hans  Landsberg,  Ber- 
lin, 1900.  38  pp. 

©eorg  33ii(^ner§  fammtlid^e  SBerfe.  Edited  by  Karl  Emil  Franzos, 
Frankfurt  am  Main,  1879.  47  -  PP-  Introduction  of  180  pp. 

1835.    2)anton^  Xob,  drama,  3  acts  in  prose,  97  pp. 


[H5] 


PART  TWO 


SECTION   I 
THE  BACKGROUND 

Poets,  like  plants,  have  been  divided  into  many  classes. 
From  one  point  of  view,  however,  there  are  only  two  kinds 
of  writers :  those  who  write  for  all  time,  and  those  who 
write  for  their  own  time.  The  former  are  by  far  the  greater, 
though  it  may  take  them  longer  to  secure  recognition  ;  it 
may  take  them  longer  to  realize  on  their  assets.  To  under- 
stand the  poetry  'of  those  who  write  for  all  time,  it  is  neces- 
sary to  know  something  about  the  intellectual,  the  spiritual, 
undercurrent  of  their  day.  It  is  customary,  for  example,  to 
divide  Philosophy  into  three  periods:  Ancient  (6256.0.- 
476  A.D.),  Mediaeval  (476-1453),  Modern  (from  1453  on). 
The  first  period  was  objective,  the  second  traditional,  the 
third  subjective.  A  representative  poet  of  the  first  period 
was  Sophocles,  of  the  second  Dante,  of  the  third  Goethe. 
To  appreciate  the  poetry  of  any  one  of  these,  acquaintance 
with  the  intellectual  trend  of  the  age  is  helpful  if  not  indis- 
pensable. To  understand,  for  example,  Dante's  "  Divina 
Commedia  "  one  must  know  something  about  the  Ptolemaic 
conception  of  the  universe  of  Dante's  day,  whereas  it  is 
questionable  whether  familiarity  with  the  way  in  which 
people  lived  in  Italy  during  the  first  eighteen  years  of  the 
fourteenth  century  would  essentially  aid  in  an  appreciation 
of  that  divine  work  by  the  "first  man  in  Italy."  But  to 
understand  the  poetry  of  those  who  write  for  their  own 


OUTLINE  OF  GERMAN  ROMANTICISM 

time,  the  poetry  of  the  lesser  poets,  familiarity  with  the 
more  profound  thought  of  the  age,  while  it  will  help,  is  not 
so  essential  as  an  understanding  of  the  way  in  which  men 
then  lived,  as  an  insight  into  the  condition  of  their  Church 
and  School  and  State  and  Home.  The  Romanticists,  with 
some  delightful  exceptions,  were  minor  poets.  They  were 
inspired,  or  rather  moved,  by  their  time  and  wrote,  in  a 
sense,  for  their  time.  That  is  to  say,  not  possessing  Dantean 
genius,  they  were  unable  to  rise  above  their  time  and  wrote, 
therefore,  for  their  time.  They  did  this,  however,  in  various 
ways.  They  considered  the  happenings  of  their  day  beneath 
their  poetic  dignity  and  left  them  out  of  consideration. 
Holderlin  had  little  respect  for  a  German  theme.  Or  they 
memorialized  their  deedless  epoch  in  unmerciful  satire,  the 
shortest-lived  of  all  kinds  of  literature.  Heine  became  a 
poet  without  a  statue  because  of  the  lampoonings  he  gave 
the  country  that  produced  him.  Or  they  humiliated  their 
age  by  comparing  it  with  other  lands  that  knew  glory  and 
with  other  times  that  abounded  in  fame.  The  German 
Romanticists,  at  least  according  to  Heine  and  many  other 
unoriginal  souls  who  have  followed  his  lead,  set  out  to 
revive  Hohenstaufen  Germany. 

Seventy-five  years  of  civic  background,  from  the  death  of 
Frederick  the  Great  to  the  death  of  Frederick  William  IV, 
are  therefore  important  in  the  study  of  German  Roman- 
ticism. That  the  situation  as  here  portrayed  concerns 
primarily  Prussia  will  surprise  no  one  acquainted  with 
German  history.  Many  of  the  Romanticists  were,  to  be 
sure,  born  out  of  Prussia,  and  but  little  of  their  literature, 
aside  from  that  of  Kleist,  had  to  do  with  what  might  be 
called  Prussian  themes.  But  from  the  national  and  civic 

[ISO] 


THE  BACKGROUND 

standpoint  Prussia  was  the  centre  of  things  then  as  it  is 
now.  As  early  as  1756  Frederick  the  Great  said  :  "  If  the 
independence  of  Germany  is  to  perish,  Prussia  shall  perish 
with  it.  I  shall  protect  the  German  princes  even  against 
their  own  wish,  and  so  long  as  there  is  a  Prussian  alive,  no 
one  shall  say  that  Germ>rja^  has  no  one  to  defend  her." 
And  as  late  as  1 899  an  eminent  authority,  Theobald  Ziegler, 
said  in  connection  with  Frederick  William  IV  and  the 
hereditary  imperial  crown:  "  Back  of  it  arose  that  perplex- 
ing question  that  has  never  been  answered,  that  problem 
that  has  never  been  solved  :  Shall  Prussia  be  absorbed  by 
Germany  or  Germany  by  Prussia  ? ' '  Prussia  is  Hohenzollern 
Germany,  and  German  Romanticism  closed  with  the  year 
1866,  the  year  in  which  the  .Hapsburgs  relinquished  all 
claims  to  leadership  in  Hohenzollern  territory  and  five  years 
before  the  establishment  of  the  present  German  Empire. 

Frederick  the  Great  became  king  of  Prussia  on  May  31, 
1740,  and  died  at  Sans  Souci  August  17,  1786,  having 
reigned  forty-six  years.  The  Seven  Years'  War  closed  in 
1763,  so  that  the  first  twenty-three  years  of  his  reign  were 
largely  taken  up  with  wars  of  acquisition,  while  the  last 
twenty-three  were  largely  concerned  with  constructive  poli- 
cies during  an  era  of  peace.  By. his  conquests  in  Silesia 
and  Austria,  he  vastly  increased  »the  area  and  population 
of  Prussia,  which,  at  the  beginning  of  his  reign,  had  a 
population  of  about  two  and  a  half  million  inhabitants,  a 
yearly  income  of  about  five  and  a  half  million  dollars,  and 
an  army  of  eighty-three  thousand  men. 

Frederick  the  Great  was  the  absolute  monarch  of  En- 
lightenment, that  movement  begun  in  1740  and  made 
possible  by  the  political  growth  of  Prussia,  by  Lessing,  by 


OUTLINE  OF  GERMAN  ROMANTICISM 

the  rise  of  Pietism,  by  Wolff's  interpretation  of  Leibnitz 
and  by  the  arrival  (1750)  of  Voltaire  in  Berlin.  By  de- 
stroying the  absolutism  connected  with  the  name  of  the 
Holy  Roman  Empire  and  the  House  of  Hapsburg,  "Old 
Fritz  "  did  for  political  Europe  what  Voltaire  did  for  ec- 
clesiastical Europe.  He  inspired  patriotism  and  self-respect 
not  only  in  Prussia  but  also  in  Bavaria,  Swabia,  Saxony 
and  Brunswick.  He  was  enlightened  and  undertook  to 
enlighten  his  subjects,  who,  though  poor,  were  made  equal 
before  the  law.  Indeed  every  man  tried  to  enlighten  his 
inferior.  Secret  societies,  such  as  the  Illuminati  (1776— 

U786),  were  established  for  this  purpose.    So  far-reaching 
ere  the  reforms  of  Frederick  the  Great  that  Kant  referred 
the  eighteenth  century  as  the  century  of  Frederick  the 
reat,  not  of  Rationalism. 

Germany  has  produced  five  superlatively  great  men  : 
Luther,  Frederick  the  Great,  Kant,  Goethe,  Bismarck.  To 
attempt  to  decide  which  of  these  was  the  greatest  would 
be  folly.  Suffice  it  to  say  that  had  Frederick  the  Great 
succeeded  himself  as  king  of  Prussia,  the  map  of  Europe 
would  not  have  suffered  such  fatal  wrenchings,  and  sys- 
tematic German  Romanticism  might  never  have  been. 

But  he  was  succeeded  by  Frederick  William  II,  his 
exact  opposite.  Handsome,  of  more  than  common  men- 
tality, devoted  to  the  arts,  a  patron  of  Mozart  and  Beetho- 
ven, a  confessed  polygamist,  lacking  military  tastes,  he 
possessed  a  temperament  ill-fitted  to  carry  out  the  policies 
of  his  illustrious  predecessor  or  to  recall  the  days  of  Charle- 
magne and  Barbarossa.  Moreover,  he  fell,  early  in  life, 
under  the  sentimental,  mystic  influence  of  Johann  Christoph 
Wollner,  whom  Frederick  the  Great  had  described  as  a 


THE  BACKGROUND 

"treacherous  and  intriguing  priest,"  and  became  a  Rosi- 
crucian.  He  passed  religious  edicts  compelling  Evangelical 
ministers  to  teach  only  what  was  included  in  the  official  book 
of  the  Order,  commanding  them  to  protect  the  Christian 
religion  against  the  doctrines  of  Enlightenment,  and  plac- 
ing education  under  the  supervision  of  the  orthodox  clergy. 
Obscurantism  rendered  invalid  his  economic  reforms,  the 
army  degenerated,  the  monarchy  declined. 

Is  it  any  wonder,  then,  that  Goethe,  and  indeed  even 
Schiller,  like  Lessing  before  them,  became  so  indifferent 
to  patriotism,  and  that  the  Romanticists  went  to  other 
times  and  other  lands  for  subjects  worthy  of  poetic  treat- 
'ment  ?  There  were  then  in  Germany  about  three  hundred^ 
independent  sovereignties  and  about  fifteen  hundred  im- 
perial knights  with  too  much  power.  The  bishops  spent 
their  time  and  money  in  drinking,  the  lords  were  poor,  the 
condition  of  the  subjects  indescribable.  The  only  institu- 
tions that  aimed  at  unity  were  the  9?etcf)3tag  at  Regensburg, 
the  $ammergerid)t  at  Speyer  and  elsewhere,  and  the  9?etcf)3= 
fyofrat  at  Wien.  Universal  schism,  worship  of  etiquette  and 
lack  of  patriotism  rendered  even  these  practically  worthless. 

The  following  are  the  most  important  events  that  took 
place  shortly  before  and  during  the  reign  of  this  king  who 
drank  liquid  gold  to  cure  himself  of  his  ills  and  entrusted 
his  affairs  of  state  to  a  religious  quack :  the  birth  of 
Napoleon  on  August  15,  1769,  at  Ajaccio  on  the  island 
of  Corsica;  the  French  Revolution  (1789-1792,  or  1795, 
or  1799,  or  1804),  which  gave  the  Germans  exotic  hope 
that  feudalism  might  come  to  an  end  at  home  ;  the  Dutch 
campaign  of  1787,  which  was  successful  as  an  issue  without 
being  profitable  as  a  policy ;  the  treaty  of  Reichenbach 


OUTLINE  OF  GERMAN  ROMANTICISM 

(July  27,  1790),  by  which  Frederick  William  II  and  Leo- 
pold II  of  Austria  agreed  to  discontinue  campaigns  con- 
ducted solely  for  the  purpose  of  conquest ;  the  dismissal 
of  Hertzenberg,  marking  the  close,  on  the  part  of  Prussia, 
of  the  anti- Austrian  tradition  of  Frederick  the  Great ;  the 
acquisition  of  territory  by  Prussia  through  the  second  and 
third  partitions  of  Poland ;  the  treaty  of  Basel  (April  5, 
1795),  according  to  which  Prussia  ceded  to  France  her 
possessions  on  the  left  bank  of  the  Rhine,  an  act  which, 
at  that  time,  when  patriotism  was  at  its  ebb,  stirred  the 
cockles  of  nobody's  national  heart,  Hardenberg  even 
approving  of  it,  and  Kant  being  moved  by  it  to  write  his 
treatise  on  perpetual  peace.  In  short,  at  the  end  of  the 
reign  of  Frederick  the  Great's  successor,  Prussia  was  hu- 
miliated and  isolated  and  decimated,  and  Austria  was  alone 
and  unsuccessfully  continuing  the  struggle  against  France, 
until  finally  obliged  to  sign  the  treaty  of  Campo  Formio 
(October  1 7, 1 797),  by  which  France  secured  still  larger  pos- 
sessions in  German-speaking  Europe.  Frederick  William  II 
died  November  16,  1 797.  During  the  period  (i  786-1 797), 
Goethe  was  writing  some  of  his  best  works,  Matthisson's 
poems  were  widely  read,  Schiller  was  in  his  second,  his 
aesthetic,  stage,  Jean  Paul  was  turning  out  work  after  work, 
Tieck  was  still  a  Rationalist  and  "  Wilhelm  Meister " 
(1796),  the  magna  charta  of  Romanticism,  was  published. 
Neither  from  the  social  nor  from  the  civic  standpoint  was 
there  much  in  Germany  to  be  proud  of,  while  literature 
was  abundant  but  chaotic. 

The  reign  (1797-1840)  of  Frederick  William  III  was 
nearly  coeval  with  Romanticism  as  a  movement.  The  year 
he  succeeded  to  the  throne  Holderlin  began  his  "  Hyperion  " 

[154] 


THE  BACKGROUND 

with  its  fearfully  depreciative  remarks  about  the  Germans, 
A.  W.  Schlegel  began  his  translation  of  Shakespeare, 
Friedrich  Schlegel  was  writing  on  the  Greeks  and  Romans 
and  Lessing,  Tieck  finished  his  "  Volksmarchen  "  and 
"Der  gestiefelte  Kater  "  with  its  onslaught  against  the 
realism  and  naturalism  of  the  Berlin,  the  German,  stage, 
Wackenroder  was  throwing  off  his  "  Herzensergiessungen," 
Schelling  was  philosophizing  on  nature,  and  the  need  of 
an  official  organ  of  Romanticism  was  becoming  daily  more 
imperative.  The  king's  good  Queen  Louisa  died  (July  19, 
1810)  heart-broken  from  national  grief  in  the  same  .year 
that  Romanticism  reaped  but  a  blighted  harvest,  Kleist's 
"  Kathchen  von  Heilbronn  "  and  Arnim's  "  Dolores." 
The  king  himself  died  (1840)  in  the  year  that  Tieck,  now 
a  Realist,  finished  his  "Accorombona,"  Heine  his  diatribe 
against  Borne,  Hoffmann  von  Fallersleben  his  "  unpolitical 
songs  "  and  Geibel  his  gentle  poems. 

Frederick  William  III,  pious,  honest,  well-meaning, 
was  nevertheless  distrustful  of  others  and  personally  ineffi- 
cient. About  a  score  of  events  loom  large  in  his  reign 
and  fewer  than  five  of  them  added  glory  to  his  realm. 
After  the  peace  of  Campo  Formio,  Austria  formed  an 
alliance  with  England  and  Russia  against  France.  The 
allies  were  successful  until  Napoleon  returned  from  Egypt 
and  took  command.  Then  disaster  after  disaster  followed, 
until  they  were  obliged  to  sign  the  treaty  of  Luneville 
(Feb.  9,  1801),  by  which  Austria  made  large  concessions 
to  France,  including  the  German  lands  on  the  left  bank 
of  the  Rhine.  Then  came  the  indemnity  congress  at 
Ratisbon  (1802-1803),  by  which  France  gained  the  Rhine 
boundary,  and  of  fifty-two  imperial  cities  forty-six  lost  their 

[155] 


OUTLINE  OF  GERMAN  ROMANTICISM 

independence,  Lubeck,  Hamburg,  Bremen,Frankfurt,Nurn- 
berg  and  Augsburg  alone  remaining  free.  At  the  battle  of 
Jena  (Oct.  1 4, 1 806)  the  Germans  were  completely  defeated ; 
the  9Ji)etnbunb  had  been  established  (July  12,  1806)  with 
Napoleon  as  its  protector,  the  Holy  Roman  Empire  of  the 
German  Nation  had  been  dissolved  (Aug.  6,  1 806)  and  the 
treaty  of  Tilsit  was  concluded  (July  7—9,  1807),  by  which 
Prussia  lost  all  of  her  territory  west  of  the  Elbe,  a  large 
part  of  what  had  been  acquired  by  the  second  and  third  par- 
titions of  Poland  as  well  as  Bayreuth  and  East  Friesland. 
Frederick  William  III  lost  in  all  over  one  half  of  his 
possessions.  These  lost  lands  were  formed  into  the  King- 
dom of  Westphalia  for  Jerome  Bonaparte  and  the  Duchy 
of  Warsaw  for  the  king  of  Saxony.  A  more  complete 
national  humiliation  is  well-nigh  unthinkable. 

Humiliation  is,  however,  frequently  good  for  the  soul. 
Just  as  Holderlin  and  Jean  Paul,  in  literature,  bridged  over 
the  otherwise  existing  gap  between  the,  humanistic,  objective, 
collective,  analytic  and  cosmopolitan  eighteenth  century  on 
the  one  hand,  and  the  romantic,  subjective,  individualistic, 
synthetic  and  national  nineteenth  century  on  the  other,  so 
did  Johann  Gottlieb  Fichte,  in  philosophy,  draw  the  line 
build  the  bridge  between  Kant's  eighteenth-century 
"  thing-in-itself  "  and  the  Romanticists'  nineteenth-century 
ego.  And  in  1808  Fichte  delivered  those  powerful  9tcben 
an  bie  beutfc^e  Nation,  assuring  the  German  people,  as 
individuals,  that  their  condition  was  not  static,  that  it  was 
not  beyond  their  control,  but  that  they  could  rethink  it, 
make  it  all  over,  make  it  dynamic,  make  it  whatever  they 
wished  to  make  it.  And  to  judge  from  the  outcome  of  1 8 1 3 
and  1815,  the  German  people  must  have  taken  courage. 


THE  BACKGROUND 

But  what  of  the  poets  ?  It  is  difficult  to  explain  them 
from  their  time.  In  the  same  year  that  Fichte  delivered 
his  9?ebcn,  Goethe  published  the  first  part  of  "  Faust," 
Germany's  greatest  dramatic  poem,  a  work,  by  way  of 
digression,  which,  barring  a  few  mortal  leaps  into  the  abyss 
of  philosophic  verbiage,  is  one  of  the  most  realistic  works 
ever  written  in  the  German  language.  But  the  Romanti- 
cists, the  minor  poets,  were,  with  the  exception  of  Kleist, 
then  writing  and  collecting  folk  songs  and  fairy  tales, 
studying  and  translating  foreign  languages  and  doing  a 
number  of  other  things  poles  removed  from  the  events 
,of  the  day.  If  there  be  any  connection  between  national 
and  literary  prosperity,  it  is  difficult  to  explain  any  Ger- 
man poet  of  1808  from  the  background,  be  he  Classicist 
or  Romanticist  or  Philistine. 

But  when  a  country  sinks  so  low  that  its  enemy  can  shoot 
a  bookseller  —  as  Napoleon  did  Palm  (Aug.  26,  1 806)  — 
for  selling  a  book  entitled  "  Germany  in  the  Depths  of 
her  Humiliation,"  a  reaction  is  sure  to  follow.  Prussia  at 
once  began  to  revive.  Stein,  who  had  been  ungraciously 
dismissed  (Jan.  4,  1807)  from  the  ministry,  followed  the 
call  of  his  king  and  resumed  the  leadership  in  the  wgck- — > 
of  reform  (September,  1807).  Frederick  William  III 
returned  (Dec.  23,  1809)  from  his  hiding  in  Konigsberg 
to  Berlin.  Tfre.  University  of  Berlin,  one  of  the  great  mon- 
uments of  Romanticism,  was  established  in  1810.  And 
«•  — «— • — •• 

then  came  a  turn  in  the  affairs  of  Napoleon.  When  his 
son  by  a  second  marriage  was  born  (March  20,  1811)  he 
stood  at  the  height  of  his  power.  He  commanded  from 
the  Pyrenees  to  the  Elbe  and  the  Baltic,  and  as  far  east  as 
Warsaw.  But  he  wanted  no  limitations  at  all ;  he  undertook 


i 


OUTLINE  OF  GERMAN  ROMANTICISM 

the  Russian  campaign  that  broke  his  power  forever.  All 
sorts  of  complications  now  began  to  arise.  And  then  came 
the  battle  of  Leipzig  (Oct.  16-19,  J8i  3),  Napoleon  suffered 
a  terrible  defeat,  the  Stfyeinbiinb  was  dissolved,  Germany 
was  free  as  far  as  the  Rhine. 

But  complete  reform  was  to  be  the  work  of  decades, 
not  of  days.  A  nation  can  be  built  up  only  with  free 
citizens,  and  previous  to  November  n,  1810,  two  thirds 
of  the  population  of  Prussia  had  consisted  of  unfree  sub- 
jects. And  this  was  only  one  of  the  many  things  that 
prevented  the  victory  at  Leipzig  from  immediately  regener- 
ating Germany.  Napoleon  had  been  defeated  once,  but  not 
completely  overthrown.  Far  from  it.  Wonderful  to  relate, 
the  first  peace  of  Paris  gave  France  all  of  Alsace,  and  a 
million  more  inhabitants  than  she  had  had  in  1789. 
Prussia  could  not  even  obtain  payment  for  the  contribu- 
tions that  had  been  wrung  from  her  during  the  campaigns 
of  1808  on.  And  it  was  only  with  extreme  difficulty  that 
she  had  been  able  to  get  back  such  works  of  art  as  the 
Brandenburg  gate.  And,  worst  of  all,  Napoleon  was  made 
sovereign  prince  of  the  island  of  Elba,  allowed  to  retain 
his  title  of  emperor  and  to  surround  himself  with  a  retinue 
of  officers  and  a  standing  army. 

Then  came  the  Congress  of  Wien,  which  met  to  redraft 
the  map  of  Europe.  Every  European  potentate,  except  the 
Sultan  of  Turkey,  was  represented.  It  was  a  long,  bril- 
liantly entertained,  wine-drinking,  resultless  affair.  Some 
things  were,  however,  started.  Russia  was  to  get  the 
Polish  provinces,  which  had  always  been  a  burden  to 
Prussia ;  Prussia  was  to  get  Protestant  Saxony,  whose 
king  had  been  consistently  loyal  to  Napoleon,  as  well  as 

[158] 


THE  BACKGROUND 

Danzig,  Thorn,  Aachen,  Koln,  Coblenz  and  other  territory 
on  the  left  bank  of  the  Rhine,  thus  bringing  her  boundaries 
up  to  almost  what  they  had  been  in  1806.  But  the  congress 
was  brought  to  an  abrupt  close :  Napoleon  landed  (March  I , 
1815)  at  Cannes.  The  French  flocked  to  his  flag  only  to 
be  mowed  down  at  Waterloo  (June  18,  1815).  Napoleon 
was  then  banished  to  the  island  of  St.  Helena,  where  he 
died  March  5,  1821. 

After  Napoleon's  banishment  the  Congress  of  Wien 
resumed  its  deliberations.  The  reconstruction  of  Germany 
was  solved  in  a  very  unsatisfactory  fashion.  The  mutual 
relation  of  Austria  and  Prussia  remained  a  vexed  question, 
one  that  was  not  to  be  solved  until  1866.  Metternich  in 
Austria  and  Wilhelm  von  Humboldt  in  Prussia  advanced 
opposing  plans.  Finally  the  2)eutfcE)er  93unb  was  formed. 
Thirty-eight  states  joined  it  (June  8,1815),  Hesse-Homburg 
came  in  in  1817.  On  September  26,  1815,  the  Holy  Al- 
liance was  agreed  upon  at  Paris.  All  Europeap  states,  except 
England  and  Turkey,  joined  the  Alliance.  The  Christian 
religion  was  to  weld  all  Europe  into  one  great  Christian 
nation.  And  on  November  20,  1815,  Austria,  Prussia, 
Russia  and  England  entered  into  an  agreement  according 
to  which  they  were  to  preserve  peace  throughout  Europe 
and  hold  regular  conferences  to  discuss  and  further  the 
general  welfare.  The  plan  sounded  well ;  in  actuality  it  was 
simply  a  confirmation  of  Metternich 's  conservative  policy 
and  was  destined  to  check  the  political  development  of 
Germany  for  half  a  century.  The  23iinbe3tag  was  to  have 
its  seat  at  Frankfurt.  The  first  meeting  was  held  on 
November  5,  1816.  But  the  Frankfurt  Diet  was  peculiarly 
arranged.  For  example,  a  combination  of  the  small  states, 

[159] 


OUTLINE  OF  GERMAN  ROMANTICISM 

representing  about  one  sixth  of  the  population,  could  out- 
vote the  larger  ones,  representing  the  remaining  five  sixths 
of  the  population.  Moreover,  the  Diet  had  no  army  and 
no  funds.  Nobody  was  satisfied.  The  internal  affairs  of 
Germany  were  worse  than  before.  But  the  very  weakness 
of  the  Confederation  conduced  to  the  glory  of  Prussia  and 
brought  about  her  future  supremacy. 

With  one  exception  the  remaining  events  of  the  reign 
of  Frederick  William  III  were  of  minor  importance.  The 
SSartburgfeft  (Oct.  18,  1817)  was  in  many  respects  a  very 
sensible  celebration.  A  few  side  acts  of  exuberancy,  how- 
ever, served  to  strengthen  the  policy  of  oppressive  con- 
servatism. The  assassination  of  Kotzebue  (March  23,  1819) 
strengthened  it  still  more.  At  a  ministerial  conference  at 
Karlsbad  (August,  1 8 19)  under  Metternich's  leadership,  and 
with  the  participation  of  Prussia,  the  freedom  of  the  press 
was  attacked  and  the  universities  were  put  under  gov- 
ernmental surveillance.  At  various  conferences  held  in 
Wien  (1819-1820)  the  granting  of  state  constitutions  was 
opposed,  but  representative  government  was  being  every- 
where discussed.  The  most  important  event  was  the  estab- 
lishment (Jan.  i,  1834)  of  the  Prussian-German  3o[hjcrem, 
which  embraced  18  states  with  23,000,000  inhabitants. 
Homburg,  Baden,  Nassau  joined  in  1835,  Frankfurt  in 
1836,  Waldeck  in  1838.  It  was  Germany's  first  lesson  in 
the  virtue  of  cooperation.  The  French  revolution  of  July, 
1830,  again  brought  the  granting  of  constitutions  to  the 
fore.  All  told,  the  battles  of  Leipzig  and  Waterloo  and  the 
establishment  of  the  Customs  Union  were  the  three  most 
important  events  in  the  reign  of  Frederick  William  III. 
He  died  June  7,  1840. 

[160] 


THE  BACKGROUND 

And  how  did  the  Germans  live  during  the  forty-three 
years  of  his  reign  ?  Nationally,  the  first  half  of  it  was  spent 
fighting  Napoleon,  the  second  in  dillydallying  over  reforms 
the  enactment  of  which  should  have  been  easy  and  rapid 
after  Napoleon's  downfall.  To  see  how  the  Germans  hated 
Napoleon,  one  should  read  Kleist ;  to  see  how  they  stood 
in  awe  of  him,  one  should,  strange  to  relate,  read  Goethe. 

In  1 800  Germany  was  poor,  desperately  so.  There  were 
about  25,000,000  inhabitants,  one  third  of  whom  lived  in 
the  cities  and  towns,  two  thirds  in  the  country.  There  were 
no  large  cities,  and  the  small  ones  were  angular,  irregular, 
dirty  and  poorly  lighted.  The  farmers  were  obliged  to  live 
with  patriarchal  frugality,  the  other  subjects  —  mechanics, 
tradesmen  and  officials  —  had  to  be  extremely  economical. 
There  was  no  such  thing  as  the  division  of  labor,  and  the 
system  of  guilds  and  tithes  and  taxes  was  so  arranged  that 
social  and  industrial  progress  was  impossible.  There  was 
no  coal  heat,  no  steam  power.  Travel  was  difficult.  In 
going  from  Berlin  to  the  Harz  Mountains,  one's  baggage 
had  to  be  examined  fourteen  times.  To  receive  the  mail 
was  an  event.  And  in  1806  things  became  infinitely  worse. 
The  best  blood  of  the  country  had  been  shed  on  the  field 
of  battle.  In  1815,  when  France  began  to  pay  indemnity, 
there  was  a  slight  relief.  The  State  began  to  build  high- 
ways and  the  mail  was  to  be  measurably  improved ;  it  was 
to  take  only  three  days  and  three  nights  to  get  a  letter  be- 
tween Hamburg  and  Frankfurt.  But  the  currency  system 
was  in  bad  condition,  and  the  system  of  tolls  and  taxes 
with  other  countries,  England  for  example,  stood  in  need 
of  immediate  revision  if  there  was  to  be  any  such  thing 
as  state  and  interstate  commerce.  Is  it  any  wonder  that 

[161] 


OUTLINE  OF  GERMAN  ROMANTICISM 

the  poets  turned  to  their  own  egos  for  themes  ?  Is  it  any 
wonder  that  we  have  so  little  action  in  the  early  epics  of 
Tieck  and  Novalis  and  Holderlin  and  Richter  ? 

But  since  the  beginning  of  the  eighteenth  century,  no 
civilized  country  has  stood  still  for  a  quarter  of  a  century, 
and  between  1815  and  1840  some  things  of  moment 
happened  in  Germany.  The  £)ambad)cr  $eft  of  1832  and 
the  gran!furter  ^Siitjd)  of  1833  were  both  reasonable  at- 
tempts to  secure  a  constitution ;  both  failed  and  both 
aggravated  an  already  grievous  situation.  The  press  was 
watched  more  carefully  than  ever,  the  censorship  of  books 
passed  beyond  the  line  of  all  reason.  About  1800  politi- 
cally suspicious  persons  were  taken  to  task  and  some  were 
imprisoned.  Some  got  off  rather  easily,  Heinrich  Laube 
for  example ;  others  fared  much  worse,  Fritz  Reuter  for 
example.  In  1837  the  seven  famous  professors  of  Got- 
tingen  resigned,  preferring  to  give  up  their  post  of  duty, 
their  life-work,  rather  than  go  contrary  to  their  conception 
of  civic  justice.  It  was  a  jtime  of  .domestic  politics,  and 
the  literature  reflected  and  visualized  it.  It  is  well  known 
that  Schiller  and  Goethe  banished  political  and  religious 
discussions  from  the  Horen.  It  is  also  well  known  that 
between  1806  and  1826  the  poets  forsook  the  world. 
But  from  1830  on  they  tried  to  bring  politics  and  religion 
into  literature. 

The  two  social  events,  however,  of  greatest  importance 
in  the  reign  of  Frederick  William  III  were  the  building 
of  railroads  and  the  emancipation  of  the  Jews.  In  1833 
Friedrich  List  (he  took  his  own  life,  Nov.  30,  1846,  out  of 
economic  despair)  planned  a  system  of  railroads  for  Ger- 
many. The  first  line  was  built  in  1835  between  Niirnberg 

[162] 


THE  BACKGROUND 

and  Furth,  the  second  in  1837  between  Dresden  and 
Leipzig.  The  influence  can  scarcely  be  imagined.  The 
German  nation,  if  it  is  possible  to  speak  of  a  nation  in 
this  connection,  took  on  a  new  lease  of  life.  People  were 
inspired  by  rapid  transit.  Poets  —  Chamisso,  Prince  Piick- 
ler,  Countess  Hahn-Hahn,  Gutzkow,  Lenau,  Laube,  Heine 
—  began  to  travel  and  to  write  pictures  of  travel.  And 
from  the  standpoint  of  literature,  the  shawm  retired  be- 
fore, because  drowned  out  by,  the  toot  of  the  whistle,  the 
knight  gave  way  to  the  engineer,  the  minstrel  to  the 
trainman  and  people  began  to  live  in  a  new  era. 

The  emancipation  of  the  Jews  was  also  of  incalculable 
significance.  This  is  not  the  place  to  recount  the  outrages 
that  the  European  Jews  had  suffered  from  the  edict  of 
Kaiser  Matthias  of  1617  on.  The  interested  student  can 
read  Gratz's  "  Geschichte  des  Judentums  "  and  become 
acquainted  with  all  the  details  of  these  atrociously  inhuman 
practices.  Suffice  it  to  say  that  the  Jews  had  been  so  com- 
pletely segregated  from  other  human  beings  that  men  like 
Borne  and  Heine  had  to  learn  to  write  and  speak  the  Ger- 
man language.  And  now  that  they  were  emancipated,  they 
came  to  the  front,  not  so  much  by  reason  of  their  creative 
as  because  of  their  imitative  ability,  in  great  numbers  and 
with  great  rapidity.  The  generation  between  1820  and 
1840  saw  the  ascendency  of  Heine,  Borne,  Rahel,  Fanny 
Lewald,  Beck,  Hartmann,  Auerbach,  Kompert,  Meyerbeer, 
Mendelssohn,  Bendemann,  Neander  and  others.  They 
lived  by  preference  in  the  large  cities  and  fought,  naturally, 
against  those  institutions  that  had  oppressed  them  —  the 
Church  and  the  Nobility.  They  did  much  to  change  social 
conditions  during  the  reign  of  Frederick  William  III. 

[163] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Forty-three  years  is  a  long  time  for  one  man  to  reign, 
even  if  he  be  uncommonly  efficient,  and  Frederick 
William  III  was  not.  It  is  for  this  reason  that  Frederick 
William  IV,  the  "  Romanticist  on  the  throne  of  the 
Caesars,"  was  hailed  as  the  savior  of  his  country.  It  is 
entirely  possible  that  no  European  monarch  ever  ascended 
the  throne  under  more  auspicious  circumstances,  or  left  it 
with  greater  disappointment  on  the  part  of  his  subjects. 
Delbruck  had  inspired  him  with  a  love  of  art,  Ancillon 
had  given  him  a  liking  for  the  picturesque,  Rauch  had 
grounded  him  in  the  principles  of  sculpture,  Schinkel  had 
told  him  about  architecture,  Savigny  had  taught  him  the 
theories  of  law,  Bunsen  had  acquainted  him  with  the  an- 
tique, and  various  other  distinguished  masters  had  helped 
to  make  him  the  gifted  prince  that  he  was.  He  was  an 
idealist  in  an  age  of  imminent  realism.  He  abhorred  the 
sovereignty  of  the  people,  he  believed  in  a  patriarchal 
monarchy,  he  felt  that  though  advice  was  to  be  given  by  the 
traditional  estates,  and  that  though  religion  was  to  cement 
his  provinces  together,  authority  was  to  be  vested  solely  in 
himself.  He  lived  in  a  dreamland  of  his  own  making,  out 
of  touch  with  reality.  His  mind,  always  somewhat  aberrant, 
gave  way  completely  in  1857,  and  on  October/,  1858,  Prince 
William,  afterwards  Emperor  William  I,  was  formally  de- 
clared regent.  Such  was  the  ruler  of  Prussia  when  the 
all-absorbing  question  was  the  drafting  of  a  constitution 
and  the  enactment  of  the  same. 

It  is  not  without  significance  that  Frederick  William  IV 
ascended  the  throne  the  same  year  that  Becker  wrote  "Der 
deutsche  Rhein  "  and  Schneckenburger  "  Die  Wacht  am 
Rhein  "  and  one  year  before  Fallersleben's  "  Deutschland, 

[164] 


THE  BACKGROUND 

Deutschland  iiber  alles."  He  held  conferences  (1840, 
1845)  with  Austria  for  the  reform  of  the  Confederation, 
but  met  with  no  success.  He  declared  (April  n,  1847) 
unequivocally  against  granting  a  constitution.  The  an- 
nouncement of  the  establishment  of  the  French  Republic 
(February  24,  1848),  however,  made  the  desire  on  the 
part  of  the  German  states  for  constitutions  irresistible. 
Frederick  William  IV  finally  issued  (March  18,  1848) 
two  patents,  calling  together  the  united  Diet,  promising 
a  written  constitution  and  making  other  concessions. 
The  Berlin  revolution  (March  18,  1848)  followed.  The 
Frankfurt  Parliament,  convened  for  the  drawing  up  of  a 
constitution  for  all  Germany,  sat  for  thirteen  months,  be- 
came intermittently  riotous,  and  finally  adjourned  having 
accomplished  nothing.  But  the  king  showed  himself  to  be 
a  man  of  his  word.  He  gave  (January  31,  1850)  a  consti- 
tution of  his  own  making,  and  a  very  good  one.  But  this 
did  not  settle  the  matter.  No  decision  could  be  reached  as 
to  the  position  of  Austria.  Frederick  William  IV  would 
not  accept  a  crown  from  the  Frankfurt  Parliament ;  he 
would  have  only  the  one  that  he  felt  could  be  legitimately 
bestowed  by  the  ancient  and  honorable  House  of  Haps- 
burg.  But  he  could  as  little  secure  this  one  as  he  would 
have  been  able  to  live  and  rule  efficiently  under  an  im- 
perial constitution.  On  the  contrary,  by  the  Convention  of 
Olmiitz  (Nov.  29,  1850)  Prussia  was  prostrated  at  the  feet 
of  Austria.  German  unity,  indeed  German  greatness,  was 
nowhere  in  sight.  Frederick  William  IV  died  January  2, 
1 86 1,  five  years  before  Prussian-German  supremacy  was 
established  by  the  war  with  Austria,  and  ten  years  before 
the  establishment  of  the  German  Empire. 


OUTLINE  OF  GERMAN  ROMANTICISM 

The  political  conditions  under  Frederick  William  IV 
were,  then,  highly  unsatisfactory;  the  decade  from  1850 
to  1860  was  dark  beyond  expression.  In  1852  Hannibal 
Fischer  sold  the  German  navy  at  auction,  while  German 
merchants  abroad  had  to  appeal  to  foreign  consuls ;  there 
were  no  German  consuls.  And,  to  cap  the  climax,  it  looked 
in  1852  as  though  the  tried  and  tested  Customs  Union 
would  be  dissolved.  But  it  only  seemed  so ;  it  was  the 
political  darkness  before  the  break  of  a  new  day. 

The  social  conditions  were  much  brighter.  The  rail- 
road, telegraph  and  mail  systems  had  been  vastly  improved 
and  expanded,  and,  coincident  with  the  exploitation  of  new 
mines  of  valuable  ores,  capitalists  began  to  develop  and 
invest  German  capital.  Capitalism  is  the  saving  word  of 
this  era.  Karl  Marx's  "  Das  Kapital  "  appeared  in  1867. 
Industries  flourished,  there  began  to  be  a  rich  and  a  poor 
class,  and  the  people  took  courage.  Those  who  were  poor 
wanted  to  become  rich,  they  no  longer  looked  upon  pov- 
erty as  a  natural  concomitant  of  life ;  those  who  were  rich 
wanted  to  become  richer,  they  no  longer  looked  upon  com- 
parative wealth  as  the  highest  good  of  human  existence. 
And  back  of  it  all,  back  of  that  which  is  political  and  that 
which  is  social,  came  Bismarck  and  Emperor  William  I, 
with  whose  appearance  Romanticism  became  history  and 
before  whose  appearance  one  can  find  only  a  depressingly 
small  number  of  events  of  which  poets  could  be  proud  and 
by  which  they  could  be  inspired.  One  searches  almost  in 
vain  for  such  happenings  as  made  glorious  Periclean  or 
Augustan  or  Hohenstaufen  or  Elizabethan  days. 

And  yet  a  survey  of  this  period  brings  up  a  question 
which,  in  view  of  the  fact  that  literature  is  an  artistic 

[166] 


THE  BACKGROUND 

visualization  and  faithful  reflection  of  life,  is  of  basic  im- 
portance but  impossible  of  a  definitive  answer :  Is  there 
any  immediate  connection  between  national,  civic  and  social 
prosperity  on  the  one  hand  and  literary  prosperity  on  the 
other  ?  One  can  find  positive  and  negative  arguments  that 
are  equally  strong.  In  1588,  for  example,  the  Spanish 
Armada  went  down  in  the  Strait  of  Dover  before  Lord 
Howard's  English  fleet,  and  literature  went  up  all  over 
England.  But  it  went  up  all  over  Spain  too,  for  were 
not  those  the  illustrious  days  of  Lope  de  Vega,  Calderon 
and  Cervantes  ?  A  great  national  event,  be  it  fortunate  or 
disastrous,  seems  to  give  a  great  poet  something  great  to 
talk  over  and  write  up  ;  but  if  he  be  only  almost  great,  the 
acquisition  of  a  new  planet  will  not  enable  him  to  live  in 
the  starry  realm  of  inspiration.  Would  our  own  Civil  War 
have  influenced  Edgar  Allan  Poe  one  way  or  the  other  ? 
The  Franco-Prussian  War  of  1870-71  neither  depressed 
poets  in  France  nor  inspired  them  in  Germany.  When 
David  Masson  wrote  his  encyclopaedic  life  of  John  Milton 
and  connected  his  hero  with  all  the  events  of  his  day,  he 
wrote  a  long  life  of  a  great  poet,  but  whether  the  inclusion 
of  all  that  extraneous  material  helps  to  a  better  apprecia- 
tion of  Milton's  poetry  is  a  question  to  be  answered  by 
the  select  few  who  have  read  Masson.  And  if,  during  the 
period  of  German  Romanticism  there  had  been  only  that 
interminable  list  of  Philistine  writers,  then  it  would  be 
easy  to  say  that  they  had  nothing  to  inspire  them  and  their 
works  are  therefore  weak.  But  there  were  at  the  same 
time  the  Classicists,  who  were  great  not  only  despite  the 
deedless  age  in  which  they  lived  but  because  of  it  to  a  cer- 
tain extent.  It  was  the  very  lack  of  idealism  and  freedom 

[167] 


OUTLINE  OF  GERMAN  ROMANTICISM 

that  kept  these  two  motifs  uppermost  in  Schiller's  mind, 
while  it  was  his  God-given  genius  that  enabled  him  to 
perpetuate  them  in  literature. 

And  then  there  were  the  Romanticists,  subjective,  indi- 
vidualistic, searching  after  a  blue  flower  when  ordinary 
flowers  were  trampled  down  by  Napoleon's  soldiers  and 
human  blood,  shed  on  the  field  of  battle,  took  the  place  of 
water  at  their  roots.  What  did  they  do  ?  Kleist,  hardly  a 
Romanticist  and  almost  a  great  genius,  kept  pounding 
away,  in  verse  and  prose,  at  Napoleon.  The  background 
of  the  time  explains  Kleist  fairly  well.  But  the  others 
disported  themselves  in  an  Orplid  or  a  Vaduz  or  an 
Arcadia  or  a  Utopia  of  their  own  making,  and  when  tired 
of  this  they  betook  themselves  to  the  real  lands  of  long 
ago  and  visualized  the  glories  they  could  so  abundantly 
conjure  up.  The  political  and  social  events  of  Germany 
from  1786  to  1 86 1  explain  some  of  the  Romantic  literature 
written  during  these  years.  They  do  not,  however,  vindi- 
cate all  that  they  explain,  for  Goethe's  criticism  of  Tieck's 
"  Sternbald  "  fits  the  case  in  many  instances.  Of  "  Stern- 
bald  "  Goethe  said :  (£3  ift  unglaiiblicf)  tote  leer  ba3  artige 
©efcifj  ift.  And  the  pretty  vessel  was  empty  not  because, 
as  has  been  said,  the  age  was  empty,  but  because  those 
particular  cells  in  Tieck's  brain,  which  in  Goethe's  brain 
contained  the  germs  of  genius,  were  not  full.  To  make, 
then,  an  ultra-self-evident  remark :  Had  the  Romanticists 
been  different  and  greater,  their  works  would  have  been 
different  and  greater. 

Let  us  take,  by  way  of  exemplification,  two  poems,  each 
written  by  a  gifted  poet.  In  1831  Anastasius  Grim,  a  poet 
of  considerable  worth,  wrote  a  poem  entitled  "  Salonszene." 

[168] 


THE  BACKGROUND 

It  is  a  graphic,  if  ironical,  picture  of  Metternich,  that 
Austrian  reactionary  who  held  Germany  in  leash  from 
1815  to  1848,  that  diplomatic  politician  who  could  see  no 
difference  between  an  observation  and  an  objection,  the 
man  to  whom  comment  was  criticism  and  an  idea  the 
embryo  pf  anarchy.  This  poem  grew  out  of  the  age  en- 
tirely. To  appreciate  it  one  must  be  familiar  with  Metter- 
nich's  time.  The  poem  was  written  for  his  time  and  was 
a  great  poem,  at  first.  It  has  now  only  historical  signifi- 
cance. On  the  other  hand,  Lenau,  a  poet  of  incalculable 
ability,  wrote  in  1832  a  short  poem  beginning  "Weil'  auf 
mir,  du  dunkles  Auge."  It  has  been  set  to  music,  accord- 
ing to  the  most  recent  report,  one  hundred  and  sixteen 
times.  There  is  not  a  shimmer  of  connection  between  it 
and  the  politics  of  1832.  It  is  a  wonderful  little  lyric. 
Such  instances  as  these  could  be  multiplied  indefinitely. 
When  the  background  wholly  explains  a  poem  we  may  be 
reasonably  sure  that  it  is  of  local  application,  of  ephemeral 
appeal  and  subordinate  merit. 

All  told,  the  economic  interpretation  of  Romantic  litera- 
ture is  a  rather  hopeless,  thankless  task.  Good  poetry  is  a 
matter  of  genius,  not  of  talent.  The  latter  can  be  acquired, 
the  former  must  be  innate.  It  is  therefore  impossible  to 
explain  poetry  of  the  highest  order  by  studying  the  back- 
ground, for  it  is  impossible  to  explain  genius.  The  genius, 
be  he  teacher  or  preacher  or  poet  or  what  not,  rises  above 
and  complacently  smiles  at  his  surroundings.  And  the 
Romanticists,  though  they  were  not  consistently  great,  had, 
each  and  all,  sporadic  moments  of  real  inspiration  during 
which  they  produced  works  of  unfading  charm  and  un- 
deniable power.  But  to  appreciate  these,  a  knowledge  of 

[169] 


OUTLINE  OF  GERMAN  ROMANTICISM 

either  the  social  background  or  the  philosophic  undercur- 
rent is  not  indispensable.  To  understand  Eichendorffs 
lyrics,  it  is  not  necessary  to  read  Schelling's  philoso- 
phy of  nature  or  Freytag's  "  Bilder  aus  der  deutschen 
Vergangenheit "  or  Riehl's  "  Kulturstudien  aus  drei  Jahr- 
hunderten."  To  appreciate  Kleist's  "  Kohlhaas,"  familiar- 
ity with  Saxony's  cringing  attitude  toward  Napoleon  is 
helpful.  But  "  Kohlhaas  "  is  not  poetry  of  the  highest 
order.  Eduard  Morike,  as  a  lyric  writer,  ranks  close  to 
Goethe,  and  in  "  Maler  Nolten "  he  gave  the  world  a 
superb  novel,  and  in  "  Mozart  auf  der  Reise  nach  Prag  " 
a  short  story  of  consummate  artistry  and  melodious  charm. 
But  Morike's  works  have  nothing  whatsoever  to  do  with  the 
sociology  of  his  age  ;  he  had  nothing  to  do  with  the  world 
about  him.  On  this  account,  Karl  Gutzkow,  who  wrote 
nothing  but  Stenbengjdjrtften,  laughed  heartily  at  Morike. 
The  background  explains  Gutzkow,  whose  works,  aside 
from  "  Uriel  Acosta,"  are  now  dead ;  Morike's  are  still 
read.  And  so  on ;  the  background  explains  sometimes, 
sometimes  it  does  not.  Suffice  it  to  say  that  the  student 
with  an  intelligent  interest  in  the  literature  of  the  Roman- 
tic period  will  do  best  to  read  the  literature,  and  the  lit- 
erature on  the  literature,  first.  And  then,  if  he  has  any 
unmortgaged  time,  he  can  spend  it  with  profit  on  the  civic 
and  social  conditions  of  Germany  from  1766  to  1866  ;  for 
it  is  not  only  the  study  of  literature  that  is  worth  while, 
political  economy  is  also  a  branch  of  human  knowledge. 
But  let  the  serious  student  of  German  Romanticism  ever 
reflect  on  this  question  :  How  can  the  study  of  the  social 
and  political  background  be  of  great  benefit  in  this  matter 
when  we  are  assured  that  the  Romanticists  fled,  during  the 

[ 


THE  BACKGROUND 

time  covered  by  the  first  four  acts  of  the  drama,  from 
the  realities  about  them  ?  Their  lives  explain,  to  be  sure, 
their  works ;  but  the  political  background  hardly  explains 
their  lives. 

BIBLIOGRAPHY 

A  History  of  Modern  Europe  (1792-1878).  By  C.  A.  Fyffe,  New 
York,  1896.  1088  pp.  This  is  a  very  detailed  account  of  the  subject. 
The  book  is  well  outlined,  and  the  student  can  easily  select  the  chapters 
of  momentary  or  thematic  interest.  Chapters  viii,  xiv,  xv,  xvii,  xxi,  xxii, 
xxv,  have  the  least  bearing  on  the  subject. 

A  Political  History  of  Europe  since  1814.  By  Charles  Seignobos, 
translated  by  S.  M.  Macvane,  New  York,  1900.  88 1  pp.  Chapters  i, 
xii,  xiii,  xiv,  xv,  xvi,  xxv,  are  of  most  interest  for  the  subject. 

Seutjdje  ©efd)icf)te  big  sum  ^ahre  1888.  By  \Vilhelm  Miiller,  Stutt- 
gart, 1888.  383  pp.  Pages  225  to  336  concern  especially  the  age  of 
Romanticism. 

jDeutfdje  ©eftfjidjte  im  neunje&nten  3>af)rf)unbert.  By  Heinrich  von 
Treitschke,  Leipzig,  1879-1882.  Volume  I,  790  pages;  Volume  II,  638 
pages.  Though  written  with  more  or  less  bias,  Treitschke's  work  is  in- 
valuable ;  it  contains  a  good  deal  of  discussion  of  the  literature  of  the 
period  and  its  economic  worth. 

Silber  au3  ber  beutfd^en  SBergangenhett.  By  Gustav  Freytag,  1859- 
1862.  Read  Volume  4,  "  Aus  neuer  Zeit."  Contains  an  excellent  account 
of  how  the  Germans  then  lived. 

2)ie  burgerlidje  ©efellfdjaft.  By  W.  H.  Riehl,  Stuttgart,  1856  (fourth 
edition).  384  pp.  Throws  light  on  the  social  situation. 

GulturgefdOidfjtlidje  ^oneUen.  By  W.  H.  Riehl,  1856  on.  All  of  Riehl's 
"  Culturgeschichtliche  "  works  are  valuable  in  the  study  of  the  back- 
ground of  German  literature  during  the  periods  in  question.  His  "  Kul- 
turstudien  aus  drei  Jahrhunderten  "  (1862)  is  different  from,  but  to  be 
ranked  with,  the  studies  of  Freytag. 

2)ic  geiftigen  unb  fojialen  Stromungen  2)eutfdjlanb§  im  neun.je&nten 
Satyrljunbett.  By  Theobald  Ziegler,  Berlin,  1911  (Ungekiirzte  Volks- 
ausgabe).  704  pp.  A  work  that  cannot  be  too  highly  praised,  unless  it 
be  that  it  becomes,  at  times,  somewhat  recapitulatory  and  therefore  not 
definitive  by  reason  of  the  great  number  of  topics  it  attempts  to  treat. 


SECTION   II 

SOME  DEFINITIONS 

Neither  romanticism  in  general  nor  systematic  German 
Romanticism  in  particular  has  ever  been  satisfactorily  de- 
fined, for  the  simple  reason  that  to  do  so  would  necessitate 
the  use  of  a  term  more  embracing  than  the  thing  defined, 
and  such  does  not  exist.  Indeed  no  one  has  ever  satis- 
factorily defined  a  definition.  Throughout  different  ages 
there  have  been  totally  different  conceptions  of  the  nature 
of  a  definition ;  there  was  first  the  Aristotelian,  then  the 
Kantian,  now  the  Modern,  which  may  be  abundant,  acci- 
dental, adequate,  analytical,  causal,  conceptional,  con- 
structive, descriptive,  diagnostic,  essential,  genetic,  nominal, 
normal,  real,  pragmatistic,  synthetical,  or  typical.  It  is  pre- 
cisely this  fact,  coupled  with  the  comprehensiveness  of  the 
Romantic  movement,  that  explains  the  striking  divergence 
among  the  definitions  of  German  Romanticism  below  listed. 
The  number  could  be  vastly  increased,  but  these  cover  the 
ground.  More  would  not  make  the  matter  any  clearer,  for, 
to  quote  Otway,  German  Romanticism  is  "  like  wit,  much 
talked  of,  not  to  be  defined."  And  indeed  if  it  could  be 
defined  in  a  single  sentence,  or  by  a  single  catch  phrase, 
then  the  compiling  of  a  loquacious  syllabus  on  it  were  the 
extreme  of  folly. 

The  difficulty  incident  to  the  defining  of  Romanticism 
might  be  illustrated  as  follows :  The  three  greatest 

[172] 


SOME  DEFINITIONS 

movements  of  modern  times  were  the  Renaissance  (1453- 
1 690),  the  Reformation  (1517-1552),  and  the  French  Revo- 
lution (1789-1804).  The  first  was  intellectual,  the  second 
religious,  the  third  social.  The  first  concerned  the  mind, 
the  second  the  soul,  the  third  the  body.  Looked  at  in  one 
way,  each  was  a  romantic  movement  pure  and  simple.  The 
Renaissance  placed  a  new  man  in  a  new  uniyprsp  it  rpvivpH 
the  literatures  ofthe_East.  and  it  introduced  subjectivism. 
The  Reformation  preached  justification  by  faith,  it  nour- 
ished individualism ;  it  made  each  man's  life  a  sort  of  !3cf); 
2c5ciL  TheFrench  Revolution  also  created,  so  to  speak, 
individualism ;  it  made  man  aware  of  his  importance,  it 
taugnt  mm  tnat  his  position  and  condition  are  not  static 
butdyriamic.  All  of  this  sounds  romantic  ;  Galileo,  Luther 
and  Danton  look  like  romanticists.  But  to  each  of  these 
movements  there  was  another  side.  The  Renaissance  intro- 
duced  naturaligm,  or  the  love  of  earthly  life,  and  its  advocates 
worshipped  tradition  as  much  as  did  Gottsched  and  Gellert 
in  their  way ;  the  Reformation  worked  havoc  with  the 
adoration  of  the  Virgin  and  the  Saints,  the  supremacy  of 
the  Pope  and  the  doctrine  of  transubstantiation  ;  the  French 
Revolution  was  a  realistic,  bourgeois  affair.  All  of  this  is 
wholly  unromantic.  To  make  a  long  story  short,  it  is  im- 
possible to  reconcile  the  teachings  of  Rome,  Wittenberg 
and  Paris  with  those  of  Berlin,  Jena  and  Heidelberg. 
When  men  like  Werner  and  Brentano,  even  Protestant 
Novalis,  were  heralding  the  glorious  virtues  of  Catholicism, 
they  were  preaching  doctrines  that  were  fundamentally 
opposed  to  at  least  one  of  the  most  essential  tenets  of 
Romanticism  as  popularly  understood.  Nor  did  Romanti- 
cism accomplish  its  best  results  by  way  of  reviving  the 

[173] 


OUTLINE  OF  GERMAN  ROMANTICISM 

languages  that  took  on  a  new  lease  of  life  after  the  fall 
of  Constantinople.  And  the  French  Revolution  with  its 
dethronement  of  romantic  sovereigns  was  essentially  a 
Philistine  event.  German  Romanticism  abounds  in  contra- 
dictions and  does  not  admit  of  a  concise  definition. 

The  situation  is,  however,  not  hopeless ;  it  is  about  as 
follows  :  Literature  has  to  be  studied  (i)  from  the  stand- 
point of  form,  (2)  from  the  standpoint  of  content.  As 
to  form,  no  one  can  boast  of  advanced  intelligence  on 
the  ground  that  he  has  noticed  that  all  pure  literature  is 
lyric  or  epic  or  dramatic.  The  core  of  the  lyric  is  emo- 
tion,, of  the  epic  narration,  of  the  drama  action.  That 
these  three  gradually  merge  one  into  the  other,  that  it  is 
impossible  to  say  where  the  one  stops  and  the  other  begins, 
that  there  are  many  dramatic  poems  and  epical  dramas  and 
lyrical  epics,  —  these  facts,  too,  are  perfectly  apparent  to 
anyone  who  can  read  literature  with  ease  and  acumen  and 
who  has  read  it  with  care  and  discrimination.  But  however 
vague  these  dividing  lines  may  be,  there  are  just  three 
forms  and  there  is  not  a  fourth.  One  may,  to  be  sure, 
write  a  newspaper  editorial  or  a  report  to  a  public-service 
commission  in  language  so  perfect  that  the  production  can 
be  called  "literature,"  but  this  is  speaking  loosely.  This 
outline  has  to  do  only  with  literature  in  the  narrower  sense, 
with  the  creative  writings  of  acknowledged  poets,  where 
fancy  and  imagination,  and  not  simply  good  taste,  logical 
reasoning,  and  acquaintance  with  the  subject  discussed, 
determine  the  nature  of  the  ultimate  product. 

And  from  the  standpoint  of  content,  there  are  just 
three  ways  of  looking  at  a  subject,  there  are  just  three 
sorts  of  poets  :  Rationalists,  Realists,  Romanticists.  The 

[174] 


SOME  DEFINITIONS 

Rationalist  reasons  out  his  problem.  He  does  not  tell  us 
so  much  what  his  characters  do,  he  does  not  tell  us  how 
they  live  and  love  and  hate,  how  they  toil  and  strive  to 
meet  the  difficulties  of  everyday  life.  He  tells  us  rather 
why  they  do  all  of  these  things  ;  he  explains  their  con- 
duct ;  he  makes  things  clear.  He  adds  up  the  plus  and 
minus  features  of  their  existence,  takes  a  careful  invoice 
of  the  situation  and  then  says  that  it  came  out,  or  must 
come  out,  thus  and  so.  He  says  all  he  has  in  mind ; 
there  is  precious  little  between  his  lines.  He  spends  his 
time  on  the  determined  or  determinable  phases  of  life. 
He  uses  no  symbolism,  he  takes  no  risks,  he  expresses 
himself  on  nothing  until  he  has  thought  it  over.  When 
Saladin  asked  Nathan  which  was  the  best  of  the  three 
religions,  Nathan  at  once  intimated  that  he  must  suspend 
judgment  until  he  had  had  an  opportunity  "  sich  zu  be- 
denken."  And  after  he  had  told  his  9ftard)en,  Saladin, 
Orientalist  that  he  was,  wanted  the  thought  carried  fur- 
ther ;  but  Nathan  replied  that  he  was  through,  that  the 
story  could  have  but  one  ending,  and  that  this  was  per- 
fectly clear  to  anyone  who  had  thought  it  over.  That  is 
the  way  a  Rationalist  uses  the  most  common  Romantic 
conceit.  Strictly  speaking,  Rationalism  is  the  lowest  type 
of  pure  literature,  for  in  it  imagination  or  creative  fancy 
plays  at  most  only  the  role  of  a  voiceless  supernumerary. 
Rationalism  is  shallow  and  apt  to  be  pedantic ;  but  it  is 
the  most  reliable  type  of  literature.  To  say  that  Lessing 
was  an  extreme  Rationalist  is  to  pay  Rationalism  an  ex- 
treme compliment. 

The  Realist  (the  Naturalist  is  only  a  Realist  of  another 
shade ;  the  term  is  of  no  use),  on  the  contrary,  gives  us 

[175] 


OUTLINE  OF  GERMAN  ROMANTICISM 

pictures  of  real  life.  He  leads  us  straight  into  the  factory, 
the  mine,  the  street,  the  home,  the  chapel,  the  saloon,  the 
salon,  and  shows  us,  in  detail  and  without  reserve,  the  things 
that  are  happening  there.  He  does  not  concern  himself 
about  the  reason  of  it  all,  he  attempts  to  picture,  to  photo- 
graph, what  he  sees  in  such  strong  colors  that  the  man 
who  reads  will  be  convinced  that  the  good  of  which  he  has 
just  heard  should  be  encouraged,  or  the  evil  —  it  is  gener- 
ally this — should  be  corrected.  In  "  Glaube  und  Heimat  " 
Karl  Schonherr  does  not  reason  about  the  relative  merit 
of  creeds,  he  shows  how  Catholics  and  Protestants  live 
and  how  vicious  intolerance  can  become.  Realism  is  one 
of  the  most  pronounced  tendencies  in  the  literature  of  to- 
day. It  is  more  effective  than  Rationalism,  for  the  demon- 
stration is  more  effective  than  the  discussion.  To  say  that 
Goethe  was  a  Realist  of  a  high  order  is  to  pay  Realism  a 
high  compliment. 

Butjvith  the  Roroaatkist-all  this  is  different.  He-may 
introduce  Rationalism  by  way  of  contrast  or  satirically,  as 
Tieck  did  in  "  Kaiser  Oktavianus."  He  may  introduce 
Realism  by  way  of  emphasis  or  humorously,  as  Arnhn  did 
in  '  Ganzgott  und  Halbgott."  But  such  introductions  are 
with  him  a  matter  of  effective  and  expedient  distribution 
of  light  and  shade ;  they  are  by  no  means  the  main  thing. 
The  Romanticist  doesnrtj-eason  out  his  problem  definitely 
and  with  logical  clarity.  Having  a  good  deal  of  respect  for 
Kis^jeadgr,  he  treats-  his  problem  ideally.  Also, Jie  deals 
with_the_suggesdye  jmd  apjDrehended_phjy>es jrf  life^  and 
he  does  this^_a11pgr»rira11y  and  symbolically.  Symbolism 
and  Romanticism  are  as  nearly  synonymous  as  "  begin  " 
and^rcommence."  The"  two  figures  of  speech  that  the 

[176] 


SOME  DEFINITIONS 

Romanticist  uses  most  frequently  are  metaphor  first  and 
simile .  second.  When  Tieck  said,  Stebe  bcnft  in  fiifjen 
Xonen,  he  employed  a  Romantic  trope  that  is  interesting 
by  way  of  contrast  with  the  last  strophe  of  Heine's 
"  Abenddunkel."  When  Friedrich  Schlegel,  or  some  one 
else,  said  that  architecture  is  frozen  music,  he  made  a  re- 
mark that  would  not  be  appreciated,  even  if  understood, 
by  a  man  who  understands  only  Rationalism  and  Realism. 
The  Rationalist  thinks,  the  Realist  observes,  the  Romanticist 
Imagines.  Unrestrained  Rationalism  is  apt  to  become  dry. 
The  same  sort  of  Realism  is  apt  to  become  blatant.  The 
same  sort  of  Romanticism  is  sure  to  become  untrue.  That 
the  three  gradually  merge  one  into  the  other  does  not  need 
to  be  stated.  That  there  is  some  romanticism  in  all  good 
literature  is  equally  obvious.  To  say  that  "Taugenichtsr" 
"  Schlemihl,"  "  Undine,"  the  second  part  of  "  Faust,"  are 
Ronrantic,  is  to  pay  Romanticism  a  profound  compliment. 
'To  say  that  Tieck,  from  1797  to  1821,  was  the  archtype 
of  a  Romanticist  is  to  temper  our  enthusiasm. 

Thirty-one  "definitions"  of  German  Romanticism, 
about  equally  divided  between  poets  and  scholars,  follow. 
Three  hundred  would  not  make  the  matter  any  clearer. 
With  but  one  exception — that  of  Herbert  Ferris — all  are 
from  indisputable  authorities. 

German  Romanticism  is  ©eelenfultur.  —  Wernaer. 

25er  ©eift  ber  gefammten  ontifen  $itnft  unb  ^Boefte  ift  plaftifcfj,  fo  rote 
ber  mobernen  pittoresl.  —  A.  W.  Schlegel. 

German  Romanticism  was  an  attempt  to  create  a  harmony  of  intellect 
and  heart,  of  life  and  art,  on  the  basis  of  individualism.  —  Robertson. 

2lber  roa3  ift  ba3  3tomantifti)e  anber3  al3  ein  ©efinen  nacf)  bent  Un- 
enblidjen,  ba3  unauf&altfam  forttretbt  unb  jebe  felbfterbaute  Sdjranfe 
fofort  roieber  herunterretfet  ?  —  Steff ens. 

[177] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Romanticism  —  a  most  awkward  and  inadequate  name  for  a  literary, 
artistic,  and  philosophical  movement  of  a  highly  composite  character 
and  most  diversified  ramifications.  —  Francke. 

£>enn  eg  nrirb  bod)  immer  ber  roefentlidje  Gharalter  beg  Momantifdjen 
bleiben,  bafj  bie  2lbgefdjloffenb,eit  fefylt,  unb  bafj  immer  nod)  auf  ein  3Bei= 
tereg,  auf  ein  ^ortfdireiten  gebeutet  roirb.  —  Carus. 

2)er  ©egenfafc  jroifdjen  $laffijigmug  vtnb  9iomantil  ift  ein  lontrarer; 
eg  ift  heute  ein  £etd)teg,  bie  (Bnnt&efe  btefer  fontriiren  ©egenfiifce  511  coU= 
jieljen.  Serjenige,  bcr  biefe  ©rmtfyefe  in  feinem  Seben,  roenn  avtdj  oom 
Ilaffijiftifdjen  ©tanbpunlt  aug,  juerft  faft  ganj  mobern,  uolljogen  fyat,  ift 
©oet^e  geroefen.  —  Lamprecht. 

2Ba^  a6er  roar  bie  romantifctye  @d)ule  in  ®eutfd^lanb  ?  <Sie  roar  nid^t^ 
anber§  aB[bie  SBiebererroechmg  ber  ^jSoefie  beg  2Rittelalter§?  roie  fie  fid^ 
in  beffen  Siebcrn,  S3ilb=  unb  33auroerlen,  in  £unftunb  SeBen  manifeftiert 
hatte.  Siefe  ^oefte  atcr  mar  auo  bent  (Sfjriftentum.  ()en)orgcgangen,  fie 
roar  eine  ^Saffiongblume,  bie  bem  SBlute  (S^rifti  entfproffen.  —  Heine. 

2)ag  GIaffifcf)e  nenne  id)  bas  ©efunbc^  unb  bag  Slomantifcfye  bag 
.Uranfe.  Unb  ba  finb  bie  Stft&clungcn  claffifd;  roie  ber  Corner,  benn  beibe 
finb  gefunb  unb  tudjtig.  Sag  meifte  -Keuere  ift  nidjt  romantifd),  roeil  eg 
neu,  fonbern  roeil  eg  fcfjroatf),  Iranflid)  unb  Irani  ift,  unb  bag  2Ute  ift 
nid)t  claffifd),  roeil  eg  alt,  fonbern  roeil  eg  ftarl,  frifdj,  fro^  unb  gefunb 
ift.  —  Goethe. 

£>ie  9iomantil  ging  bem  fiifsen,  oolfgtiimlicljen  Xone  einer  ©d;almei 
nad),  roie  fie^inber  ober&irten  blafen,  fe^te  fie  felbft  an  benJHunb,  gab 
fid)  ber  roilben,  freien  3fatur  f)in,  ftolj,  einmal  bie  £ultur  abftreifen  ju 
lonnen,  unb  ging  babei  unnerfeheng  i^rer  gebilbeten  ©eifteglriifte  t>er= 
luftig,  Big  fie  fd)lie^lid)  nitfjtg  anberg  mefjr  lonnte  alg  auf  ber  ©dEjalmei 
Blafen.  —  Huch. 

Sie  3tomantil  ift  ein  ^roteft  gegen  Ileinlidje  ^ntereffen,  liimmerlidje 
3Koral,  fpief(biirgerlidje  ^eale,  fentimentale  Sebengauffaffungen ;  fie  ift 
ein  £ampf  gegen  alle  biejenigen,  bie  eng  in  3Sorurteilen  gebunben  bleiben 
unb  babei  fid;  mit  ftodjtrabenben  S^ebengarten  unb  erborgten  S^^len 
roid^tig  madjen.  £>ie  Slomantiler  roollen  bie  Seutfdjen  tiefer  fefyen,  gro= 
^er  benlen,  roahrer  fii^len  le^ren.  Segb.alb  fud;en  fie  alleg  Seben  in 
^jJoefie  ju  taudjen.  —  Joachimi. 

25ie  9lomantiler  finb  t)on  §aug  aug  gnrielitfjtnaturen.  2Bo  bie  S8er= 
ftanbegbenler  ober  S^ationaliften  nadj  ben  ^orberungen  ber  §ngiene_Sidjt 
unb  Sufi  DerJangen,  ba  erfefynen  bie  ©efufjlgbenler  ober  3rrationaliften 
bag  §albbunlel,  ben  Siimmerf d;ein,  bag  2lbenb=  ober  gru^rot.  SBafirenb 

[178] 


SOME  DEFINITIONS 

bie  ^omantiferjDa*  SJUI  in  il)r  VVI)  Ijinemoeuten,  laffen  bje  filaffifer  um= 
gefel)rt  bag  eigene  2>dj  im  21U  aufgefjeru  ©pinoja  lofdjt  fein  %d)  oollig 
aug;  j^toid)  ©cfjlegel  fiefot  in  feinem  2>d)  bag  Centrum". —  Stein. 

Ser  ©runbbegriff  ber©dijule,  roelc6,er  id)  aua)  angebore,  ift:  barman 
ju  einem  ^unftroerf  nidfjt  mit  bem  blofjen  SBerftanbe,  fonbern  mit  bent 
Ginflang  aller  feiner  £rafte,  ^antafie  unb  ©efiibl  mitgerecfjnet,  treten 
mufj,  roenn  man  e^  feegreifen  roill,  ba§  man  oon  bem  ©Iau6engfa|e  au3= 
ge^t:  alle^,  raa^  einmal  entftanb,  mu^te  nad^  ©efe^en  ent|"tef)en,  unb  ba^ 
man  eine  unenblic^e  SKannigfaltigfeit  ber  SCege,  bie  bag  fiinftlerifdje  Ser? 
mogen  einfc^Iagen  f ann,  jugiebt.  —  Immermann. 

2)ie  Xongeber  unter  un§  finb,  roa^  %ean  ^Baul  roeiblic^e  ©enie^  nennt. 
S)a  fe^It  e^  roeber  an  Gmpftinglidjfeit  nocf)  Siebe  fiir  bag  @d)5ne,  abet 
an  ^raft  e§  3x1  geftalten  unb  au^er  fic^  fyinjvtftellen.  .  .  .  2tUe  grofeen 
2JZeifter  alter  ^eiten  con  ©fyafefpeare  unb  SKilton  big  ©oet^e  roaren  me^r 
ober  roeniger  plaftijc^.  .  .  .  Sie  gormloftgfeit,  roeld^e  ein  ^auptingrebienj 
ber  fogenannten  Jiomantif  ift,  roar  oon  je^er  ein  Qeifyen  eineg  jc^roacgen, 
fra'nfelnben  ©eifteg,  ber  jici)  felbft  unb  feinen  ©toff  }u  be^errfa^en  niajt 
oermag.  —  Grillparzer. 

©g  roar  in  25eutfcf)lanb  com  G^arafter  beg  Jiomantifc^en  fo  oiel  bie 
Stebe  geroefen,  unb  com  6alberon  fo  oiel  fiir  bie  allegorifdf)e  tyoefie  be= 
geiftert,  Derfudjte  ii)  eg,  in  biefem  rounberfamen  2J?ar6^en  jugleidj  meine 
2lnficf)t  ber  romantifc^en  ^jSoefie  allegorifc^,  Inrifcfj  unb  bramatifd^  nieber^ 
julegen.  (Read  ^rolog  ju  D!tauian,  "  Schriften,"  Volume  i,  pages  1-36. 
Characters  are  ©laube,  Siebe,  Sapferfeit,  ©djerj,  Slomanje,  ^Silgertn, 
Siebenber,  fitter,  £>irtenmtibdE)en,  Qmei  ^eifenbe,  ^iifter,  S^or  Don  ^rie= 
gern,  6f)or  con  ©djtifern  unb  ©d^dferinnen.)  —  Tieck. 

2lHe  Umroaljungen  in  ber  beutfc^en  Siteratur  .  .  .  finb  oon  jungen 
SJJenfcgen  auggegangen.  .  .  .  Sie  Stomantif  ift  me^r  alg  alleg  anbre  bie 
Sidjtung  eineg  neuen  Sugenbgefdjted^teg,  bag  juerft  neben  ben  ^laffifern, 
balb  barauf  gegen  fie  roirft  unb  ftimpft.  Gg  fud^t  mit  feinem  guten  3u- 
genbrecb/t  neuen  3"^It  unb  neue  £unftformen,  ganj  fo  roie  eg  einft  bie 
illaf filer  getan,  alg  fie  nod?  bie  ©tiirmer  unb  Srdnger  b^iefien.  .  .  .  3u= 
genb  fte^t  auf  bem  Sanner  ber  3iomantif  gefcfyrieben,  unb  nur  alg  eine 
Sebengtiufjerung  ber  3u9^nb  ift  bie  romantifdje  Sid^tung  menfdjlia)  ju 
begreifen.  —  Eduard  Engel. 

After  frosty  Konigsberg  and  sunny  Weimar  —  the  long  debauch  of 
Romanticism.  It  is  dead  and  gone  and  we  may  to-day  speak  plain  truth 
about  it  without  offence.  Not  that  this  <?//«  podrida  was  devoid  of  good 
elements But  what  of  the  neo-mediaeval  ©dE)toa'rmerei  and  £rdumerei, 


OUTLINE  OF  GERMAN  ROMANTICISM 

with  its  sham-chivalry  and  sham-mysticism,  its  play-erotics  and  play- 
aesthetics,  its  maudlin  rhetoric  and  stage  machinery  of  doom  curses, 
devil's  elixirs,  poisoned  daggers,  clanking  chains,  castles  by  the  sea, 
...  its  Undines,  mandrakes,  Doppelganger,  and  death-horses,  its  pseudo- 
oriental  cult  of  resignation,  its  muling  and  puking,  yearning  and  postur- 
ing ?  —  Herbert  Ferris. 

5-  ©djlegel  braudjt  irgenbroo  ben  Slugbruc! :  ,,2Benn  bie  neuere  ^oefie 
iiberfyaupt  UnDerganglidjeg  fjeroorbringen  farm  pp".  Sag  Hang  mir  an= 
fangg  rounberlid),  bod)  fyat  ber  Stugbrud"  ©runb.  2)ie  griedjifdje  ^poefie 
befriebigt  lein  3Beltbebiirfnig  meb,r;  fie  bauert  aber  fort,  roeil  fie  in  fidj 
tjollenbet  ift,  roeil  fie  in  fid)  collenbet  roerben  lonnte.  2)ie  romanti= 
fdje  ^poefie  fdjliefjt  bie  SBollenbung  aug,  3)  ar  ft  el  lung  beg  Siomantifdjen 
im  eigentlidjften  (griecfjifcfjen)  ©inn  ift  nicf)t  moglicf^.  lonnte  alfo  bie 
SBelt  fief)  nocfj  einmal  dnbern,  hb'rte  fie  auf,  SBeIt=33eburfni^  ju  fein, 
fo  ftiivjte  bag  3"un^ament  i^er  ©pftenj  jufammen  unb  fie  hatte  augge= 
lebt.  —  Hebbel. 

3$  Batte  eine  (Smpfinbung,  alS  raenn  mir  nor  mir  felber  elelte,  ba^ 
icf;  ^ter  fo  ruljig  unb  gliidlicfj  fii^e.  .  .  .  Sabeijfam  id;  aber  nadE)f)er  auf 
bie  3i>ee/  biefe  ©mpfinbung  in  eine  Dbe  ju  bringen,  unb  iiberfjaupt  eine 
gattj  eigene  2lrt  uon  Dben  einsufiifyren.  .  .  .  @ie  fallen  ben  ecfjten,  tt)ab= 
ren  2lu3brutf)  ber  Seibenfdjaft  barftellen  .  .  .  unb  basu  bienen,  SRenftfjen 
^enfcijenfiersen  fennen  ju  (e^ren,  SWenfcfjen  3Kenfrf>en  ju  erllaren  unb  au 
entbeclen,  unb  2Uenfcf)en  t»or  2Jienfcb,en  ju  oerteibtgen.  .  .  .  2)ie  ^ritif  ift 
nicf)t  bag  ebelfte  33eftreben,  unb  nicb,t  bag  [>ocf)fte  35erbienft  beg  3Wenfcf>en. 
.  .  .  9Jur  ©cf^affen  bringt  ung  ber  ©ott^eit  nciber;  unb  ber  $iinftler,  ber 
Sicfjter  ift  ©djopfer.  ©g  lebe  bie  5hinft !  ©ie  allein  erfjebt  ung  itber  bie 
©rbe,  unb  madjt  ung  unferg  ^immelg  roiirbig.  —  Wackenroder. 

Sie  beutfrfje  SJomantif  ift  alter  alg  bie  franjoftfc^e.  Severe  ift  bireft 
aug  bent  SBiberfprurf)  gegen  bie  9iet)olution  entftanben.  Sic  beutfcfje 
3lomantif  befingt  fd)on  tnit  gri^  ©tolberg  bie  SBaffentaten  ber  2lfjnen, 
fie  begeiftert  iHopftod1  ju  feinen  je^t  ungenieparen  Sarbieten,  fie  beg(ei= 
tet  Berber  auf  ben  $orfd(junggreifen,  bie  er  bei  alien  9Zationen  narf)  bem 
urraiic^ftgen  SSolfglieb  unternimmt,  fie  fteigt  mit  ©ofc  non  33erlid)ingen 
ftolj  ju  Kofi,  ja  fie  fattelt  bem  greifen  SBielanb  nod)  ben  §npogr^pf;en 
jum  ^Ritt  ing  alte  SOBunberlanb.  £>ie  beutfd)e  SJomantif  ift  aug  ber  neu 
erroadjten  Siebe  sum  oerlorenen  SSaterlanbe  entftanben,  beffen  monbbe= 
gla'nste  ©d;loffer  unb  93urgen  aug  ber  9lad)t  ber  3eiten  jauberifd)  empor= 
taudjten ;  ein  3Sallen  in  bie  Xraumroelt  fernliegenber  3af)tl)unberte  rear  eg, 
aug  ber  oft  fein  better  $fab  mef)v  in  bie  ©egenroart  juriidfii^rte.  —  Born. 


SOME  DEFINITIONS 

The  etymology  of  romance  is  familiar.  The  various  dialects  which 
sprang  from  the  corruption  of  the  Latin  were  called  by  the  common 
name  of  romans.  The  name  was  then  applied  to  any  piece  of  literature 
composed  in  this  vernacular  instead  of  in  the  ancient  classical  Latin. 
And  as  the  favorite  kind  of  writing  in  Provei^al,  Old  French,  and 
Spanish  was  the  tale  of  chivalrous  adventure,  that  was  called  par  excel- 
lence, a  roman,  romans,  or  romance.  TKePadjective  romantic  is  much 
later,  implying,  as  it  does,  a  certain  degree  of  critical  attention  to  the 
species  of  fiction  which  it  describes  in  order  to  a  generalizing  of  its 
peculiarities.  It  first  came  into  general  use  in  the  latter  half  of  the 
seventeenth  century  and  the  early  years  of  the  eighteenth  century;  and 
naturally,  in  a  period  which  considered  itself  classical,  was  marked  from 
birth  with  that  shade  of  disapproval  which  has  been  noticed  in  popular 
usage.  — Beers. 

Les  romantiques  sont  trop  souvent  victimes  des  definitions  qu'on  a 
donnees  du  romantisme.  Trop  souvent  on  cherche  dans  leur  vie  ou 
dans  leur  oeuvre  ce  qui  peut  confirmer  1'idee  qu'on  se  fait  de  leur  doc- 
trine, alors  que  1'etude  impartiale  des  faits  devrait,  au  contraire,  corriger 
ce  que  les  definitions  ont  de  trop  rigide  et  de  trop  absolu.  On  dit  et 
Ton  repete  que  le  romantisme  a  ete  essentiellement  une  reaction  contre 
le  classicisme.  Or  c'est  la  loi  meme  de-revolution  litteraire  qu'une  ecole 
nouvelle  se  constitue  en  opposition  avec  celle  qui  1'a  precedee.  Le  clas- 
sicisme n'a  pas  echappe  a  cette  loi,  pas  plus  en  Allemagne  qu'en  France. 
Le  romantisme  la  confirme  a  son  tour.  Pour  etre  autorise  a  lui  en  faire 
un  grief  particulier,  il  faudrait  etablir  qu'il  n'a  su  que  prendre  en  tout, 
de  propos  delibere,  le  contrepied  du  classicisme.  L'ceuvre  et  le  carac- 
tere  de  Frederic  Schlegel  ont  souvent  ete  invoques  a  1'appui  de  cette 
these.  —  Rouge. 

This  vagueness  has  adhered  to  the  word  ever  since,  —  more  espe- 
cially, perhaps,  in  the  usage  of  German  writers,  who  are  prone  to  label  as 
"  romantic  "  any  poetic,  literary,  religious,  philosophic,  artistic,  scien- 
tific, musical  or  political  tendency  that  can  be  shown  to  have  been  fa- 
voured by  one  or  more  members  of  the  so-called  Romantic  School.  But 
really  there  never  was  a  school,  except  in  the  very  loosest  sense  of  the 
word.  There  was  simply  a  coterie  of  friends  who  were  very  differently 
endowed,  and  were  driving  at  very  different  things.  For  five  or  six  years 
they  continued  in  close  personal  relations,  oscillating  between  Jena  and 
Berlin.  .  .  .  Then  they  separated.  ...  In  the  immediate  circle  of  the 
Schlegels  there  was  a  deal  of  talk  about  the  principles  of  romantic  art ; 
about  irony,  and  subjectivity  and  universality,  that  is,  completeness  of 


OUTLINE  OF  GERMAN  ROMANTICISM 

self-revelation ;  about  the  autocracy  of  the  creative  artist,  and  other  such 
matters.  There  is  no  evidence  that  the  lingo  ever  influenced  a  man  of 
genius,  but  it  gave  a  sort  of  sanction  to  authorial  caprice  and  literary 
amorphousness. —  Calvin  Thomas. 

~35ag  2lhnen  beg  llnenblidjen  in  ben  2lnfd»auungen  ift  bag  3lomantifd)e. 
3)ie  ©riedjen,  in  einem  fdjonen,  genufjreidjen  ©rbenftridje  raobnenb,  von 
Dfatur  better,  umbrdngt  con  einem  gldnjenben,  tbatenoollen  Seben,  metjr 
dufjerlid)  alg  innerlid)  lebenb,  .  .  .  lannten  ober  ndbrten  nidjt  jene  bdm= 
mernbe  ©ef>nfud)t  nadj  bem  Unenblidjen.  .  .  .  2)er  ©otjn  beg  -Korbeng, 
ben  feme  minber  gtdnjenbe  ttmgebungen  nid)t  fo  fyinreifcen  modjten,  ftieg 
in  fid)  fjtnab.  2Benn  er  tiefer  in  fein  2>nnereg  fdjaute,  alg  ber  ©riedje,  fo 
fat)  er  eben  barum  nidjt  fo  flat,  ©etne  9?atur  lag  balb  in  ben  SBoIfen. 
.  .  .  Sie  ^omantif  ift  ntd)t  blo^  ein  pftantaftifdjer  2Ba^n  beg  3WitteIalterg ; 
fie  ift  fyolje,  eroige  ^oefie,  bie  im  33ilbe  barftellt,  nw3  SBorte  biirftig  ober 
nimmer  auSfpredjen,  fie  ift  bag  Sud)  coll  feltfamer  3<uiberbilber,  bie  ung 
im  SBerfe&r  er^alten  mit  ber  bunflen  ©eifterroelt.  @ie  ift  ber  fdiimmernbe 
3tegenbogen,  bie  33rMe  ber  ©otter,  roorauf,  nad}  ber  6bba,  fie  ju  ben 
@terblid)en  tjinab  unb  bie  Slugerraa^lten  511  i^nen  emporftetgen.  .  .  .  9lm, 
fo  lafjt  ung  ©diroarmer  ^ei§en  unb  glaitbig  eingefjen  in  bag  grofje  roman= 
tifd;e  2Bunberreid),  rao  bag  ©ottlidje  in  taufenb  cerftarten  ©eftalten  um= 
t)erroanbelt.  —  Uhland.  ^ 

Sag  Waive  ift  eine  $inblid)feit,  TOO  fie  nid)t  me^r  erroartet  rcirb.  .  .  . 
©anj  anberg  cerfid  It  egfidj  mit  bem  fentimentalifdjen  !Did)ter.  2)iefer  re= 
fleltiert  iiber  benjStnbrudl,  ben  bie  ©egenftdnbe  auf  ifm  mad;en.  .  .  . 
®er  S)id)ter  ift  entraeberUlatur,  ober  er  roirb  fie  fudjen,  jeneg  mad;t  ben 
naioen,  biefeg  ben  fentimentatifcfjen  S5id;ter.  .  .  .  2)ie  Sid)ter  finb  iiber= 
all,  fdjon  itjrem  Segriffe  nad;,  bie  Seroaljrer  ber  3tatur.  .  .  .  <Sie  roer= 
ben  alfo  entroeber  3iatur  fein,  ober  fie  raerben  bie  oerlorene  fudjen.  .  .  . 
2lUe  2)id;ter  .  .  .  raerben  p  ben  nainen  ober  ju  ben  fenttmentalifdjen 
get)5ren.  .  .  .  SDer  Sidjter  einer  naioen  .  .  .  ^ugenbroelt ...  ift  ftreng 
unb  fprobe.  .  .  .  ®r  fte^t  ^inter  feinem  SDBerle ;  er  ift  bag  2Berf,  unb  bag 
2BerI  ift  er.  .  .  .  <So  jeigt  fid)  j.  33.  §omer  unter  ben  Stlten  unb  @^afe= 
fpeare  unter  ben  3?eueren,  jroei  &od)ft  oerfd)iebene  3laturen,  aber  gerabe  in 
biefem  Gfjaralterjuge  oollig  eing. . . .  SDer  fentimentalifd^e  Sidjter  fiat  eg 
. . .  tmmer  mit  jroei  ftreitenben  SBorfteQungen  unb  ©mpfinbungen,  mit  ber 
SBirflid)feit  atg  ©renje  unb  mit  f einer  ^bee  atg  bem  Unenbtidjen  ju  t^un — 
3lun  entfteht  bie  ^vaqe,  ob  er  meljr  bei  ber  SBirftic&ieit,  ob  er  me^r  bei  bem 
Sbeale  oerroeilen  —  ob  er  jene  atg  einen  ©egenftanb  ber  2lbneiaung,  ob  er 
biefeg  alg  einen  ©egenftanb  ber  3uneigung  augfii^ren  railt.  ©eine  35ar= 
fteUung  roirb  alfo  entroeber  fatirifd),  ober  .  .  .  elegifdj  fein.  —  Schiller. 

[182] 


SOME  DEFINITIONS 

25er_3nf)alt  ber  3lomanitf  roar  roejentlicfiJatfyolifdb,  bag  benfroiirbige 
3eidjen  eineg  faft  beroufctfag  fjeroorbrecfienben  §eimroef)3  beg  ^Broteftan= 
ttsmug  nad)  ber  ftirctye..  'Safyer  aud)  bie  auf  ben  erften  SItcf  befrembenbe 
©rfdjeinung,  bap  bief*  moberne  SRomantif  gerabe  im  fatfjolifdjen  <2iiben 
nur  roenig  2(nflang  gefunben,  roeit  eben  b,ier  bie  ^5oefie  ber  Religion,  bie 
fie  b,eraufbefd)rooren  roollte,  roenigfteng  im  SBolfe  norf)  fortlebte;  man 
erftaunte  ober  ladjelte  iiber  foldje  lururiofe  2lnftrengungen  fiir  Gtroa3,  bag 
fic^  ja  con  felbft  cerftanb.  %m  norblic^en  Seutfcfjlanb  bagegen,  roelajem 
bie  Siomantifer  angefyorten,  roaren  biefe  faft  of)ne  2lu3naf)tne  proteftantifc^ 
gefc^ult  unb  in  ber  aufcerfircf)licf)en  SBifjenfc^aft  itnb  Seben^geroofinfjeit 
aufgeroadjfen.  ©ie  mufetcn  bafjer  gleic^fam  fidj  felbft  erft  in^  fatdolifc^e 
2>biom  itberfe^en,  ba^  nic^t  ifjre  3flutterfpracf)e  roar  ;  fie  fatten  bort  frii^= 
Heitig  fc^on  com  Saume  ber  Grfenntni^  genafc^t  unb  jene  fat^olifdje  lln= 
befangenfjeit  unb  Unfc^ulb  oerloren,  bie,  roeil  fie  e§  ganj  ift,  faum  roeifi, 
bafj  fie  fat^olifc^  fei;  e^  fefjlte  i^nen  mit^in  ber  natiirlic^e  SBoben  einer 
latljolifc^en  ©efinnung,  bie  allein  nermogenb  roar,  i^re  Uberjeugungen 
jur  lebenbigen  poetifc^en  (Srfcfjeinung  311  bringen.  Safjer  ifjre  unficb,ere 
£»altung,  biefer  gemacfyte,  fprung^afte,  forcierte  ^at^oliji^mug,  ber,  ftet3 
unbefriebtgt,  immer  iiber  fid)  felbft  f)inaugge^t.  —  Eichendorff. 

25a§  Seben  ift  etroa^,  roie  ^r&e'V  Zone  itnb  ^raft.  2)er  3tomantifer 
ftubiert  ba^  Seben,  rote  ber  2JJaler,  2J?ufi!er  unb  aWed^anifer  ^-arbe,  Son 
unb  ^raft.  ©orgfaltigeg  ©tubium  beg  Sebeng  madbjt_ben^gtpmantifert 
roie  forgftiltigeg  ©tubium  t>on  ^arbe,  @ef^ainm§f  ton  wnb  ^raft  ben 
3KaIer,  9JJufifer  unb  3Wec^aniIer. 

2)er  Ionian  ift  collig  al§  S^omanje  ju  betradjten. 

2  ic  .ftunft,  auf  cine  angeneljme  2Irt  311  befremben,  einen  (^egcnftanb  fremb 
^u  madien  imb  b<x^  befannt  unb  an^te^enb,  bajLift  bie  tQinanTTfdje  ^Soeiif.  " 

3f{omantif,  2lbfolutifierung,  Uninerfalifierung,  Jllafftfifation  beg  inbi= 
mbueUen  2JZomentg,  ber  inbioibuellen  Situation  ufro.  ift  bag  eigentlirfje 
SBefen  ^eg  JHomimttftereng. 

2)er  3ioman  ift  gleid>fam  bie  freie  ©efd^idjte,  gleitf;fam  bie  yjlgtfyoloQie 


ift  romantifdjer  atg  roag  man  geroo^nlidj  2DeIt  unb  ©c^idEfal 
nennt.  2Bir  leben  in  einem  (im  gro^enunb  fleinen)  3toman.  S3etrad;tung 
ber  Segebenb.eiten  um  ung  f>er. 

3)ag  OTarclb.en  ift  gleidjfam  ber  ^anon  berJSoefie.   SlQeg  ^Soetifd^ 


@in  3JZa'rcf)en  ift  rote  ein  Xraumbilb,  oljne  3"fa»"nten^ang.  (Sin  @n= 
f  emble  rounberbarer  2)inge  unb  33egebenb,eiten,  j.33.  eine  mufifalifcfje  ^^an« 
tafie,  bie  fjarmonifdjen^olgen  einer  2(olg^arfe,  bie  Siatur  felbft.—  Novalis. 

[183] 


OUTLINE  OF  GERMAN  ROMANTICISM 


rcir  bod)  lieber  bag  ©efufyl,  roarum  eg  3.  33.  fogar  eine  ©egenb 
romantifd)  nennt.  (Sine  Statue  fdjliefjt  burd;  ifyre  enge  unb  fdjarfe  Urn* 
fdjreibung  jebeg  9{omantifd)e  aug;  bie  2Jialerei  nafjert  fidj  fcfyon  burclj 
Sftenfcb/ensSruppierungen  ifym  mefyr  unb  erreicb,t  eg  ob,ne3JZenfd)en  in  &anb= 
fcfjaften,  5.  33.  in  (Haube.  (Sin  fyoUanbifdjer  ©arten  erfdjeint  nur  alg  ber 
SBiberruf  jei>e3  31mnantifd)en,  aber  cut  englifdjer,  ber  fidE)  in  bie  unbe= 
ftimtnte  ^anbfcfjaft  augbeljnt,  fann  ung  mit  einer  rontantifdjen  ©egenb 
itmjpielen,  b.  1).  mit  bent  §intergrunbe  einer  ing  ©djone  frei  gelafjenen 
^Sfjantafie.  .  .  .  3Ber  ift  nun  biiMutter  biefer_3toumntii  ?  —  Slllerbingg 
nirf)t  in  jebem  Sanbe  unb  Safyrljunberte  bie  d3rift(idi^3ieliaion^  aber  iebe 
anbere  ftef)t  mit  biefer  ©otteg=2JJutter  in  93erroanbtfd;)aft.  Qmei  romanti= 
fd^e  ©attungen  ofyne  ©f)riftentum,  einanber  in  2lugbilbung  nrie  in  ^lima 
fremb,  finb  bie  inbifdEje,  unb  bie  ber  (Sbba.  Sie  altnorbifd^e  mefjr  ang 
©rfjabene  grenjenbe  fanb  im  ©djattenreid^e  i^rer  f  limatifd^en  oerfinfterten 
©d^auernatur,  in  if)ren  31ad^ten  unb  auf  ifjren  ©ebirgen  jum  ©efpenfter= 
orlug  eine  grenjenlofe  ©eifterroelt,  raorin  bie  enge  ©innenroelt  jerflo^  unb 
t>erfanf  ;  ba^in  ge^ort  Dffian.  .  .  .  2)ie  inbifd^e  SRomantif  beroegt  fid)  in 
einer  allbelebenben  Religion,  rceld;e  t>on  ber  ©innenroelt  burd)  33ergei= 
fterung  bie  ©djranlen  roegbradg.  .  .  .  9Bir  gelangen  nun  jur  djriftlidjen 
3lomanti{.  .  .  .  2)er  3littergeift  —  ber  ofjne^in  ^iebe  unb  3fieligion,  Dame 
unb  Notre-Dame,  nebeneinanber  auf  feine  ^atjnen  ftidte  —  unb  bie  Rwute 
ji'tge,  toelcfye  man  jroeiteng  ju  33atern  ber  3tomantif  madjte,  finb  Sinber 
ber  drjriftlidjen.  —  Jean  Paul. 

2)ie  romantifdje  ^Soefie  ift  eine  progreffice  Unioerfalpoefie.  S^re  93e= 
ftimmung  ift  nidjt  blo^,  alle  getrcnnte  ©attungen  ber  ^oefie  roieber  ju 
oereinigen,  unb  bie  ^jjoefie  "nut  ber  ^pfyilofopfyie  unb  3i^etorif  in  33eriif)= 
rung  ju  fe^en.  @ie  roill,  unb  foil  aud)  ^Joefie  unb  v}kofa,  ©enialitat  unb 
iiritil,  ^unftpoefie  unb  9laturpoefie  balb  tnifdjen,  balb  t>erfd;me[jenr  t»ie 
^Poefte  (ebenbig  unb  gefellig,  unb  bag  Seben  unb  bie  ©efellfdjaft  poetifd) 
madden,  ben  2Bi£  poetifieren,  unb  bie  $ormen  ^er  5?unft  mit  gebiegenem 
93ilbunggftoff  jeber  2lrt  augfitllen  unb  fattigen,  unb  burdj  bie  ©djraingen 
beg  Swmorg  befeelen.  @ie  umfa^t  alleg,  rcag  nur  poetiftt)  ift,  oom  gro^= 
ten  roieber  me^re  ©qfteme  in  fid)  ent^altenben  ©nfteme  ber  5hmft,  big  ju 
bem  ©eufjer,  bent  ®u$f  ben  bag  bid)tenbe  .^inb  aug^aud)t  in  lunftlofem 
©efang.  .  .  .  @ie  ift  ber  ^6d)ften  unb  ber  allfeitigften  S3ilbung  fa'^ig.  .  .  . 
35ic  romantifd)e  ^Soefie  ift  unter  ben  Mnften  roag  ber  3Bi^  ber  ^3^10= 
fopf)ie,  unb  bie  ©efellfd^aft,  Umgang,  ffreunbftfjaft  «"i>  Siebe  im  Seben 
ift.  2lnbre  25id;tarten  finb  fertig,  unb  lonnen  nun  oollftanbig  jergliebert 
raerben.  2)ie  romantifdje  Sidjtart  ift  nod)  im  SCerben  ;  ja,  bag  ift  if)t 
eigenttid)eg  SBefen,  bafe  fie  eipigjntrroerben,  nie  ooUenbetJein  I  ann.  @ic 

[184] 


SOME  DEFINITIONS 

fann  bitrdj  feine  Sfjeorie  erfd)5pft  roerben,  unb  nur  eine  bioinatorifdje 
$ritif  biirfte  eg  roagen,  iljr  ^beal  d)arafterifieren  ju  roollen.  ©ie  allein 
ift  unenblitf),  roie  fie  allein  frei  ift,  unb  bag  alg  ib,r  erfteg©efe$  anerfennt, 
bafe  b"|FSilIfuf)r  beg  Sidjterg  fein  ©efefc  iiber  fidj  leibe.  Sie  romantifd)e 
2>id)tart  ift  bie  einjige,  bie  mefjr  alg  2lrt,  unb  gleidjfam  bie  £id)tfunft 
felbft  ift :  benn  in  einem  geroiffen  ©inne  ift  ober  foil  alle  ^Boefie  romantifd) 
fein.  —  Friedrich  Schlegel. 

2Bag  ift  3Jomantif  ?  —  2JZan  erinncrt  fic^  melleidjt, .  .  .  ba§  id)  anfang^ 
mit  eintgen  bid  en  Srrtunmn  unb  Uberfd)d^ungen  .  .  .  auf  biefe  mobernc 
SBelt  Io3gegangen  bin.  .  .  .  ^dj  nerftanb  ben  p^ilojop^ifd;en  ^Sefftmi^mu^ 
beg  neunjeljnten  Sa^^unberts,  roie  al^  06  er  bag  ©ijmptom  von  fjofjerer 
^raft  bes  ©ebanfeng,  Don  oerroegenerer  Xapferfeit,  von  ftegreidjerer  §-uUe 
beg  i?e6en3  fei.  .  .  .  Sn^Sleidjen  beutete  id;  mir  bie  beittfdje  3)Jufif  jured^t 
jum  Slugbrucf  einer  btonijfifdjen  SWiidjtigfeit  ber  beutjdjen  ©eele.  .  .  . 
2JJan  ftefjt,  id)  oerfannte  bamalg,  foroofyl  am  p^ilofop^ifdjen  ^peffimig= 
mug  roie  an  bcr  beutfctycn  SJhtfif,  Sag  roag  i^ren  eig^ntlid>ett-£^arafter 
augmad)t— j^Jtomajxtil^  SBag  ift  31otnantif  ?  Sebe  £unft,  jebe  ^ilo= 
fopfjie  barf  alg  §eil=  unb  fpiilfsmittel  im  Sienfte  beg  road^fenben,  fa'mp= 
fenben  Sebeng  angefe^cn  toerben.  @ie  fe|en  immer  Seibefl^mb  geibenbe 
uoraug.  2lber  eg  gibt  jroeierlei  Seibenbe,  einmal  bieanttBerfurie  beg 
Sebeng  Seibenben,  .  rTunb"fob4Wl  6te~an  ber  SSerarmung  beg  Sebeng 
Seibenben,  bie  Stu^e  .  .  .  fudjen,  .  .  .  ober  aber  ben  9jaufdj.  .  .  .  Sent 
Soppelbebiirfnifje  ber  2e$teren  entfpridjt  aHe  Siomantil  in  £unften  unb 
©rfenntniffen,  i^nen  entfpracf)  ebenfo  ©djopen^auer  alg  9iid;arb 
SBagner.  .  .  .  S)er  3ieid)fte  an  Sebengfiille  .  .  .  lann  fid;  nidjt  nur  ben 
Slnblid"  beg  5iird;terltd)en  .  .  .  gonnen,  fonbern  felbft  .  .  .  jeben  i'ujug 
oon  3wftorung.  .  .  .  Umgefefyrt  roiirbe  ber  Seibenbfte  ...  bie  ^rieblidj; 
feit .  .  .  notig  ^aben.  .  .  .  3>n  £>infid;t  auf  alle  dftb/etifdjen  2Berte  bebienc 
id;  mid;  je^t  biefer  §auptunterfd)eibung :  id)  frage  in  jebem  einselnen 
galle,  ,,ift  b£r_45ujujer  ober  bcr  Uberflu^  fd)5pferifdj  geroorben  ?"  .  .  . 
3Son  oorn^erein  m6d)te7icg  eine  anbere  llnterfd)eibung  me^r  ju  etnpfefylen 
fd)einen,  namlid)  bag  Slugenmerf  barauf,  ob  bag  SSerlangen  nad) .  .  .  33er= 
eroigen  .  .  .  ober  nad)  3erftontttg  ift.  .  .  .  Slber  beibe  2Irten  erroeifen  fid) 
nod)  alg  jroeibeutig.  .  .  .  Sag  33erlangen  nad)  3«rftorung  .  .  .  fann  ber 
3lugbrud  ber  iiberfiillten  5?raft  fein  (biomjfiftf)), . . .  aber  eg  fann  ber  <j?afj 
beg  ©ntbeljrenben  fein,  ber  ^erftoren  mu^.  .  .  .  Ser  JBiHe  jum  SSereroigen 
bebarf  gIeid)faQg  einer  jroeifadjen  Interpretation.  ®r  fann  einmaf  aug 
Sanfbarfeit  fommen  (apoUonifd))  —  3?ubeng,  £>afig,  ©oetb/e— .  .  .  er 
fann  aber  aud>  ber  tt)rannifd)e  2BiIIe  eineg  ©d)roerleibenben  fein,  ber  an 
alien  Singen  gleid)fam  3?ad)e  nimmt.  .  .  .  i^ifreg  ift  ber  romantijrije 


OUTLINE  OF  GERMAN  ROMANTICISM 

'ipefftmigmug  in  feiner  augbrucfoollften  $orm,  fei  eg  alg  ©dEjopenfyauerfdije 
21Ullenspl)Uoi~op[)ie,  fei  eg  alg  SBagnerfcfje  2JJuft!: —  ber  romanttftfje  tytfs 
fimigmug,  bag  le|te  grofje  ©retgnig  im  ©tfjicffal  unferer  ihiltur.  (Safj 
eg  nocf)  einen  ganj  anberen  ^efftmigmug  geben  fonne,  einen  Ilafftfdcien, 
biefe  2l^nung  gefyort  ju  mir  .  .  .  nur  ba^  metnen  D^ren  ba3  2Bort 
,,Haffifrf)"  t»iberftef)t,  eg  ift  fcei  roeitem  ju  abgebraudgt,  ju  runb  unb 
unfenntlicf)  geroorben.  2>dj  nenne  jenen  ^Seffttnigmug  ber 
ben  bionriftfcfyen  ^efftmigmug.)  —  Nietzsche. 

@o  bin  id)  enblid;  bir  entronnen, 

©tabt  ber  ^ritil  unb  ^olittf, 

SKitf;  locEt  fjinaug  ber  SJaiennionnen 

Unnriberftefylidje  2Kuftf. 

gofjr  I)in,  bu  ^arm  ber  Qeitunggblatter, 

35er  roiberraartig  geUenb  fd^allt, 

3JJir  ift,  alg  f»ort'  id§  §orngefd)metter 

2lug  etnem  fernen  Sticfjenroalb ! 

Unb  nun  tnit  ^eil'gem  2JZorgenftra^Ie 
garbt  fid§  ber  §otf)n>alb  griin  unb  falb, 
3u  ^iiften  mir  bag  ©riin  ber  Sale, 
gu  §aupten  mir  bag  33lau  ber  2llp. 
S)ie  Serdje  fteigt  in  ^tatterfdciroingung, 
©tumm  auggebreitet  fdgrcimmt  ber  2Bet^, 
Sag  3leE)  burc^bric^t  bie  Saubtjerfcplingung, 
llnb  aug  bent  ©trome  fd;aut  bie  get. 

@g  fpielen  bunlelrote  Sifter 
^n  nteineg  ^eldgeg  ^urpurnarfjt; 
Sir  fei,  o  5laiferin  ber  ®id)ter, 
Stomantif,  biefer  XrunI  gebrad^t! 
SSor  beiner  @rbe,  beinem  SBaffer, 
3n  beiner  Sttft  unb  beinem  Sid^t, 
28o  mir  lein  2Rt^laut  beiner  gaffer 
Sen  fel'gen  Siaumel  unterbrtd^t. 

Su  ©tfjii^erin  beg  ^eit'gen  ©rabeg, 
$riemh,ilbe,  bie  um  ©iegfrteb  roeint, 
©efpieltn  bu  beg  3Wonbegftraf)leg, 
Ser  iiber  §elbengraber  fdjeint, 

[186] 


SOME  DEFINITIONS 

2)u  bift  ©efang  im  ©tromgeroQe 
Sfaum, 


2)u  jogft  juerft  in3  SBunberoolIe 
2)e3  erften  25id)ter3  SJJaientraum. 

2)u  roarft  $rau  33enu3  bem  Xann^dufer 

tlnb  Sorelei  bem  alien  SR^ein, 

S)u  fdjroirrft  am  2eic^  burc^  3i^erretfer 

2H3  ©rlenlonigg  Xoc^terletn. 

llnb  feit  bag  SSolf,  ba§  fampfe^blinbe, 

35id^  jiingft  cerftie^  von  feiner  ©eit', 

Srinfft  bu  tm  SBalb  bie  Wiid)  ber  §inbe, 

23ie  ©enooeoa  unfrer  Qeit. 

tlnb  bod^,  33erfto^ene  burcf)  3Serblenbung, 
2Sie  bift  bu  reid)  tro^  3e^  un^  3orn  ' 
2)u  leerft  in  gottlic^er  SBerfc^roenbung 
Zagtaglic^  noc^  bein  SBBunberb/orn. 
Sd)  grii§e  bidj  mit  frommem  Sinne, 
3Bie  ift  bein  3ietdj  fo  grim  unb  roeit  ! 
33u  gitrftin  oielgetreuer  2Rinne, 
@ei  taufenbmal  gebenebeit!  — 

®§  frf^roeigt  bie  2Belt,  bie  3roeige  nirfcn, 

llnb  leifer  atmenb  pulft  ber  See. 

@§  fallt  ein  marcf)en^aft  ©ntjiitfen 

3Kir  iiber^  Serj  roie  Sliitenfdjnee. 

3ur  Slnbadjt  roirb  ber  flatter  ^Slaubern, 

©^rfiircb,tig  liegt  bie  SBoge  bo; 

^a,  frommeS  3l^nen,  fufee3  ©djaubern, 

^etl  bir,  Stomantif,  bu  bift  nab,  ! 

Von  Strachwitz 


SECTION   III 

GENERAL  TREATISES 

One  of  the  idiosyncrasies  in  connection  with  the  gen- 
eral studies  on  German  Romanticism  is  the  fact  that  the 
members  of  the  older  group  have  been  much  more  studied 
than  their  younger  and,  as  poets,  more  highly  gifted 
brothers  in  Apollo.  And  one  of  the  most  glaring  in- 
consistencies in  connection  with  the  whole  movement 
is  the  fact  that,  although  the  nineteenth  century  was 
essentially  historical,  .and  although  the  Romantic  move- 
ment is  associated  and  hopelessly  bound  up  with  Ger- 
many's greatest  historians,  neither  the  science  of  writing 
history  nor  the  history  of  the  movement  has  ever  been 
written.  F.  C.  Dahlmann  (1785-1860),  J.  J.  I.  v.  Dollinger 
(1799-1890),  J.  G.  Droysen  (1808-1884),  Fr.  v.  Gentz 
(1764-1832),  Th.  Mommsen  (1817-1903),  J.  v.  Muller 
(1752-1809),  B.  G.  Niebuhr  (1776-1831),  L.  v.  Ranke 
(1795-1886),  Fr.  L.  G.  v.  Raumer  (1781-1873),  H.  v. 
Sybel  (1817-1895),  H.  v.  Treitschke  (1834-1896),  — all 
of  these  were  famous  historians,  each  in  his  own  way, 
during  the  days  of  Romanticism  and  a  little  later,  yet  no 
one,  not  even  Lamprecht,  has  traced  the  evolution  of 
historiography  as  brought  about  by  these  men  and  their 
less  noted  contemporaries.  Peculiar  as  this  is,  it  is  not 
so  peculiar  as  the  fact  that,  despite  all  the  books  that 
have  been  written  on  Romanticism,  no  one  has  ever 

[188] 


GENERAL  TREATISES 

attempted  to  write  a  history  of  the  movement,  to  trace 
it,  objectively,  through  the  various  stages  of  its  develop- 
ment and  to  point  out  its  most  important  incidents  without 
digression  or  self -intrusion. 

The  student,  therefore,  who  reads  any  of  the  following 
works  hoping  thereby  to  obtain  a  clear  view  of  the  move- 
ment as  a  whole,  will  be  disappointed.  The  list  is  in 
itself,  however,  instructive.  Heine,  the  most  difficult  in- 
dividual to  locate,  wrote  a  fascinating  monograph  for  a 
foreign  people.  He  did  not  take  his  subject  seriously ; 
no  one  else  did  then,  excepting,  possibly,  the  poets  them- 
selves. Eichendorff  followed  him,  a  quarter  of  a  century 
later,  with  his  Catholic  propaganda.  No  one  can  blame 
Eichendorff  for  his  attitude.  He  was  a  Catholic  himself, 
and  Romanticism  was  not  Protestant.  Then  came  Haym 
with  his  definitive  scholarship.  This  is  just  about  the 
order  to  be  expected.  After  Haym  the  dissertations  be- 
gan to  appear.  It  was,  however,  another  quarter  of  a 
century  before  Brandes  wrote  his  fascinating  book  — 
Romanticism  lends  itself  well  to  such  treatment.  Then 
came  Huch  with  her  two  Romantic  studies,  and  a  year 
later  Spiess  thought  the  movement  now  justified  a  chres- 
tomathy  on  popular  lines.  Gustav  Schwab  had  done  the 
same  thing,  years  before,  in  unwieldy  proportion.  It  is 
rather  difficult  to  vindicate  Joachimi's  work,  except  that 
she  wished  to  explain  the  Romantic  theory  and  wisely 
selected  Friedrich  Schlegel  for  this  purpose.  Kircher 
reminds  one  of  an  immature  Haym  with  a  strong  tinge 
of  Jakob  Boehme's  mysticism.  Walzel  tried  to  condense 
a  lot  of  matter  into  a  little  space  and  incidentally  to  ex- 
plain the  origin  of  Romanticism.  Beginners  cannot  read 

[189] 


OUTLINE  OF  GERMAN  ROMANTICISM 

his  book.  And  Wernaer,  rather  happily  for  the  last  in 
the  series,  tried  to  draw  the  moral.  The  general  student 
should  read  Heine  first,  then  Haym  by  way  of  contrast, 
then  Wernaer. 

1833.    Heinrich  Heine:  2)ie  ^Otttdtttifdje  ©djllle,  Leipzig,  152  pp. 

(Written  in  the  last  months  of  1832,  intended  originally  for 
the  French,  translated,  modified  and  revised  until  1836.  Elster 
gives  complete  text  and  variants.  Great  divergence  of  opinion 
as  to  merits,  especially  from  the  standpoint  of  Heine's  religious 
and  political  attitude.  Cynical  and  clever,  sometimes  slightly 
inaccurate  as  to  details,  it  remains  a  valuable  pioneer  work  on 
the  subject.  Predominantly  popular.) 

1857.  Joseph  von   Eichendorff :    ©efo*)id)te   ber   poetifdjen   Siteratur 
3)eutfd)lanb§,  Paderborn,  262  pp. 

(Discusses  Romanticism  in  general  and  21  of  the  main 
poets  in  particular.  Written  wholly  from  the  Catholic  stand- 
point and  therefore  at  times  prejudiced,  but  on  the  whole  accu- 
rate and  always  suggestive.  Predominantly  doctrinal.) 

1870.   Rudolf  Haym:  3)ie  romcmttfd)e  (SdEjute,  Berlin,  951  pp. 

(The  classic  work  on  German  Romanticism.  Author  devoted 
ten  years  of  hard  labor  and  ripe  scholarship  to  its  composition. 
The  exact  opposite  of  Heine's  book ;  his  name  is  not  men- 
tioned. Indebtedness  acknowledged  to  Gervinus,  H.  Hettner, 
J.  Schmidt,  and  Koberstein,  but  the  work  is  Haym's.  Treats 
only  the  old  school :  Tieck,  Wackenroder,  the  Schlegels, 
Holderlin,  Novalis,  Schleiermacher,  Schelling  and  Brendel 
Dorothea  Mendelssohn-Veit-Schlegel,  and  in  this  order.  Now 
rare;  the  best  book  on  the  subject.  Predominantly  genetic.) 

1894.  Georg  Brandes :  2)ie  rotnanttfdje  ©djule  in  3)eutfd)lanb,  trans- 
lated by  Adolf  Strodtmann,  Leipzig,  317  pp. 

(One  of  the  most  brilliant  and  suggestive  works  on  German 
Romanticism.  Written,  however,  from  a  questionable  point  of 
view :  German  Romanticism  is  compared  with  Danish  Roman- 
ticism. Contains  some  scintillating  but  untenable  generali- 
ties. Treats,  aside  from  general  topics,  Tieck,  Holderlin, 
the  Schlegels,  Wackenroder,  Hoffmann,  Chamisso,  Novalis, 
Eichendorff,  Arnim,  Brentano,  Fichte,  Arndt,  Jahn,  Fouque, 
Kleist,  Werner,  Gb'rres,  Gentz,  and  in  this  order,  with  occasional 

[I90] 


GENERAL  TREATISES 

digressions  to  their  contemporaries  in  England,  France  and 
Scandinavia.    Gives  the  impression  of  a  series  of   lectures 
rather  than  of  a  coherent  discussion.    Predominantly  critical.) 
1899.   Ricarda  Huch :  33liitejeit  ber  SWomantif,  Leipzig,  391  pp. 

(A  superb  study  by  a  romantic  writer.  Treats  Romantic 
themes  rather  than  poets :  Apollo  and  Dionysos,  philosophy, 
religion,  life,  love,  irony,  books,  the  fairy  tale,  art,  death  —  all 
from  the  standpoint  of  the  German  Romanticists.  Predomi- 
nantly descriptive.) 

1902.  Ricarda  Huch:  2lu§brettung  unb  SBerfall  ber  3?omontif,  Leipzig, 

357  PP- 

(Slightly  inferior  to  the  companion  volume,  but  excellent. 
Title  not  accurate  :  Romanticism  never  completely  fell.  Treats 
Romantic  themes  rather  than  poets :  view  of  life,  science, 
numbers,  man,  animals,  careers,  Catholicism,  the  infinite,  physi- 
cians, politics.  Deals  almost  exclusively  with  the  Heidelberg 
group,  as  her  first  volume  deals  with  the  Berlin-Jena  group. 
Contains  a  bibliography  of  132  titles,  only  18  of  which  are  on 
literature  as  such.  Predominantly  descriptive.) 

1903.  Heinrich  Spiess :    2)ie  beutfdjen  Stomantifer,  Leipzig  and  Wien, 

246  pp. 

(Good  general  anthology.  Contains  introduction  and  notes 
and  selections  from  the  prose  and  poetry  of  A.  W.  Schlegel, 
Fr.Schlegel,Tieck,  Novalis,  Holderlin,  Kleist,Arnim,  Brentano, 
Fouque,  Chamisso,  Eichendorff,  Wackenroder,  Schleiermacher. 
Poetry,  127  pages;  prose,  54  pages.  Predominantly  eclectic.) 

1905.  Marie  Joachimi:  35ie  SBeltanfdjcmung  bet  SRomanttf,  Jena  and 

Leipzig,  236  pp. 

(A  good  work,  but  contains  little  not  in  Haym.  Based 
primarily  on  Friedrich  Schlegel.  Contains  many  well-chosen 
quotations.  Treats  the  Godhead,  the  universe,  humanity, 
poetry,  genius  and  art  from  the  standpoint  of  the  German 
Romanticists.  Predominantly  explanatory.) 

1906.  Erwin  Kircher :  5|Bf|iIofopf)te  bet  Siotnantif,  Jena,  294  pp. 

(More  interesting  than  valuable.  Contains  little  not  in  Haym 
or  Huch.  Printed  from  the  literary  remains  of  the  author, 
who  died  at  the  age  of  twenty-three.  Not  always  clearly  ex- 
pressed. Contains  chapters  on  life,  Hemsterhuys,  Fr.  Schlegel, 
Novalis,  Schelling  and  general  topics.  Well  printed.  No 
index,  no  bibliography.  Predominantly  philosophic.) 

[191] 


OUTLINE  OF  GERMAN  ROMANTICISM 

1908.   Oskar  F.  Walzel :  3)eutfdE)e  3tomcmtif,  Leipzig  ("Aus  Natur  und 
Geisteswelt "),  168  pp. 

(Excellent  sketch.  Devoted  primarily  to  the  Berlin-Jena 
group.  Attempts  to  explain  the  origin  of  German  Romanticism 
from  the  philosophy  of  German  Romanticism.  Can  be  used 
much  better  for  review  than  for  introduction.  Predominantly 
theoretical.) 

1910.    Robert  M.  Wernaer :  Romanticism  and  the  Romantic  School  in 
Germany,  New  York,  1910. 

(An  excellent  book  for  the  initiated.  Deals  with  the  Berlin- 
Jena  group  and  tries  to  see  what  the  members  of  this  group 
stood  for,  and  what  lessons  they  can  teach  us.  Resembles  the 
books  by  Huch.  Contains  a  bibliography  of  1 52  titles  and  an 
index.  Predominantly  appreciative  and  didactic.) 


[  I92] 


SECTION   IV 

GENERAL  TREATISES  ON  SPECIAL  PHASES 

Even  a  cursory  glance  at  the  following  list  of  mono- 
graphs will  reveal  two  things  :  the  wide  range  of  topics 
that  fall  under  the  general  head  of  Romanticism,  and  the 
fact  that,  though  the  flourishing  time  of  Romanticism 
closed  with  the  year  1815,  the  movement  was  not  studied 
at  all  seriously  until  after  1890.  The  reason  for  this  late 
attempt  to  adumbrate  the  invisible,  and  to  tone  down  and  r 
subdue  the  glaring  in  the  Romantic  universe,  lies  in  the 
nature  of  things ;  men  need  time  to  think  such  a  move- 
ment over ;  and  then,  in  course  of  time,  they  need  themes 
on  which  to  think.  The  reason  for  the  comprehensiveness 
of  the  field  lies  in  the  fact  that  the  Romanticists  were  in- 
novators ;  they  had  many  notions  and  were  full  of  ideas. 
Some  of  their  suggestions  and  endeavors  were  good  and 
have  borne  much  fruit ;  others  were  dangerous  and  have 
been  harmful.  But  all  were  interesting  and  provocative 
of  suggestion. 

The  subjoined  bibliography  might  be  compared  to  the 
mineralogical  collection  of  the  geologist ;  it  contains  speci- 
mens of  Romantic  creations,  and  from  them  one  can  see 
where  Romanticism  tended.  There  was,  for  example, 
such  a  thing  as  Romantic  style,  and  its  study  has  gained 
the  attention  of  such  men  as  Hiigli,  Petrich  and  Schiitze. 
Women  came  in  for  much  discussion  during  this  period, 

[193] 


OUTLINE  OF  GERMAN  ROMANTICISM 

and  the  works  of  Carriere,  Sidgwick,  Walzel,  Gschwind, 
Graf,  Deibel  and  others  have  gone  into  the  matter,  and  all 
literature  —  Rationalism,  Realism,  Romanticism  —  is  now 
better  understood.  Verse  and  strophe  forms,  the  tech- 
nique of  the  lyric,  the  epic,  the  drama  were  revived  and 
revised  by  the  Romanticists,  and  Bartsch,  Welti,  Minor, 
Keiter  and  Pflaum  have  investigated  this  phase  of  the 
period  with  enduring  results.  Benz  throws  bright  light 
on  the  fairy  tale,  Wachtler  shows  what  Poe  owed  to 
German  Romanticism,  Dreeser  tells  of  the  relation  of  the 
author  of  "  Immensee  "  to  the  movement,  Williamson  has 
corralled  the  facts  concerning  Grillparzer's  unsympathetic, 
when  not  antagonistic,  attitude  toward  the  Romanticists 
and  their  writings,  Kirn  has  set  forth  Schleiermacher, 
the  Protestant  preacher  of  the  predominantly  Catholic 
movement,  Joel  has  written  a  book  big  with  interest  on 
Nietzsche  and  Romanticism,  and  so  on.  These  works  in- 
vestigate the  truth  and  picture  it  without  embellishment ; 
they  are  valuable. 

Though  the  list  is  long,  there  still  remains  to  be  written 
one  work  at  least :  "  Die  Asthetik  der  deutschen  Ro- 
mantik."  In  view  of  the  fact  that  the  Romantic  move- 
ment was  so  largely  an  aesthetic  one,  it  is  peculiar  that  a 
monograph  on  this  phase  of  the  matter  has  not  been  written. 
It  has  received  fragmentary  treatment  in  many  places ;  it  has 
received  definitive  treatment  nowhere.  The  Romanticists 
themselves  wrote,  to  be  sure,  on  aesthetics  ;  one  needs  only 
to  be  reminded  of  Solger's  magnum  opus,  of  Jean  Paul's 
11  Vorschule  der  Asthetik,"  and  of  Wilhelm  von  Humboldt's 
"Ansichten  uber  Asthetik  und  Literatur,"  consisting, 
unfortunately,  only  of  his  letters  written  to  C.  G.  Korner. 


GENERAL  TREATISES  ON  SPECIAL  PHASES 

The  work  was  edited  by  F.  Jonas  in  1880.  And  one 
needs  only  to  recall  the  many  scattered  commitments  on 
this  subject  by  the  Schlegels,  Novalis,  Schiller,  Wacken- 
roder  and  others.  But  the  works  of  the  Romanticists  on 
aesthetics,  and  their  general  ideas  about  aesthetics  as  seen 
by  the  investigator,  these  are  two  totally  different  affairs. 
And  it  is  one  thing  to  read  Friedrich  Bouterwek's  "As- 
thetik  "  (1815),  it  is  another  to  determine  the  fundamental 
characteristic  of  the  aesthetics  of  the  poets  who  lived  during 
Bouterwek's  time.  Nor  does  such  a  work  as  G.  Neudecker's 
"  Studien  zur  Geschichte  der  deutschen  Asthetik  seit 
Kant"  (1878)  satisfy  the  student  of  literature.  In  this 
work  one  hears  a  great  deal  about  Kant,  Vischer,  Zim- 
mermann,  Lotze,  Kostlin,  Siebeck,  Fechner,  Lange  and 
Deutinger ;  one  hears  nothing  about  the  same  number  of 
poets,  and  what  they  said,  sometimes  between  the  lines, 
on  this  subject,  a  subject,  incidentally,  that  the  student 
can  ill  afford  to  divorce  from  his  first  love  —  the  study 
of  literature. 

Of  the  works  here  listed,  the  first  and  fourth  call  for 
special  comment.  W.  von  Blomberg  had  published  in 
the  Rheinisch-westphalischer  Anzeiger  in  1820  a  satire 
against  Romanticism,  in  which  he  drew  a  sharp  line  be- 
tween Romantic  and  plastic  poetry.  Heine,  in  one  of  the 
very  first  scientific  articles  ever  written  on  Romanticism, 
denied  the  existence  of  any  such  contrast  and  tried  to 
corroborate  his  thesis  by  referring  to  the  fact  that  the  two 
greatest  Romanticists,  Goethe  and  Wilhelm  Schlegel,  were 
both  supreme  masters  of  plastic  form.  In  the  light  of 
modern  times,  one  can  only  smile  at  the  illustration  Heine 
uses ;  but  there  is  sense  in  what  he  was  driving  at,  for  to 

[195] 


OUTLINE  OF  GERMAN  ROMANTICISM 

contend  that  none  of  the  creations  of  the  Romanticists  is 
plastic  is  nonsense.  It  is  in  this  same  article  that  Heine 
defends  Romanticism  from  the  view  held  then,  and  now, 
by  the  unread  laity,  in  the  following  words  :  5lber  me  unb 
nimmcrmefjr  ift  basojemge  bte  toafyre  SRomanttf,  toa3  fo  ttie(e 
bafiir  au^geben ;  ndmlirf) :  etn  ©emengfel  bon  fpamfdjem 
(Sdjtnelg,  fcfyotttfdjen  9?ebe(n  unb  ttaltenifdjem  ®e!h'nge,  tier* 
toorrene  unb  Derfdjttnmmenbe  SBitber,  bte  gletdjfam  au<§  etner 
3cwberlaterne  au3gegoffen  toerben  unb  burc^  bunted  $arben= 
[ptel  unb  frappante  SBeteud^tung  feltfam  ba§  ©emiit  erregen 
unb  ergotjen.  As  a  picture  of  what  German  Romanticism, 
in  its  best  manifestations,  is  not,  these  words  of  Heine, 
though  he  later  nearly  took  them  back,  should  be  kept  in 
mind  by  any  student  of  the  movement  who  wishes  to  find 
the  wild  flowers  in  this  unfenced  field. 

Ludwig  Noack's  book  is  even  more  than  the  title  indi- 
cates. ScJieJUng  lived  from  1775  to  1854;  his  mature 
years  just  about  cover  the  Romantic  period,  of  which  he 
was  the  philosopher.  Noack  has  not  only  discussed  his 
philosophypHe  has  also  set  forth  the  many  and  enduring 
and  epoch-making  scientific  discoveries  and  advances  that 
made  the  Romantic  century  so  illustrious.  The  general 
student  of  literature  can  hardly  be  expected  to  step  aside 
and  read  what  took  place  in  the  chemical,  electrical, 
medicinal,  and  physical  world  from  1766  to  1866.  If, 
however,  he  wishes  to  do  special  work  on  a  special 
phase  of  the  period,  he  may  be  obliged  to  go  into  this 
part  of  the  matter.  And  if  so,  he  will  find  Noack  a  safe 
guide  and  a  good,  though  very  serious,  friend.  To  un- 
derstand Noack,  scientific  training  is  an  indispensable 
prerequisite. 

[196] 


GENERAL  TREATISES  ON  SPECIAL  PHASES 

1820.  2)ie  Komantil.  By  Heinrich  Heine.  Written  against  W.  von 
Blomberg,  who  had  maintained  that  there  was  a  contrast  be- 
tween Romantic  and  plastic  poetry.  3  pp. 

1835.  Reflexions  sur  le  romantisme  dans  la  litterature  franfaise,  et  re- 
futation de  quelques  opinions  erronees  auxquelles  il  a  donne 
lieu  en  Allemagne.  By  F.  E.  Bournot,  Brandenburg.  31  (large) 
pp. 

1841.  2ld)im  von  2lrnim  unb  bie  9iomantif.  2)ie  (Mnberobe.  By  Moriz 
Carriere,  Griinberg  and  Leipzig.  44  pp. 

1859.  ©Celling  unb  bie  ^Hofopljie  ber  9iomantif.  By  Ludwig  Noack, 
Berlin,  2  volumes.  1094  pp. 

1864.  3)ie  neuere  Slomantif  in  ifjrem  Gntftef)en  unb  iljre  Sejieljungen  jur 
gid)tefd)en  S|Bf)ilofopf)ie.  By  J.  H.  Schlegel,  Rastatt.  123  pp. 

1873.  iiber  bie  ©ntftef)ung  unb  Gntroicfelung  be3  ©efiifjte  fiir  ba3  9io= 
tttantifdje  in  ber  9Zatur.  By  Ludwig  Friedlander,  Leipzig. 

45  PP- 

1878.  2)rei  ^apitel  oont  romantifd)en  ©til.  By  Hermann  Petrich,  Leip- 
zig. 1 52  pp. 

1878.  liber  ben  Segriff  beg  5lomantifd)en.    By  J.  H.  Schlegel,  Wertheim. 

36  (large)  pp. 

1879.  2tt£  romantifd)e  ©c^ule  in  2)eutjd^lanb  unb  in  iyran!rei$.    By 

Stephan  Born,  Heidelberg.    23  pp.   An  excellent  treatise. 
1881.  9lomantifer  unb  germaniftifc^e  ©tubien  in  §eibelberg  1804-1808. 
By  Karl  Friedrich  Bartsch,  Heidelberg.    21  (large)  pp. 

1883.  (SidjenborffS  2lnfidjten  iifcer  romantifd)e  ^Soefte  im  3ufantnienf)ange 

ntit  ber  2)oftrin  ber  romantifdjen  ©djule.   By  Richard  Dietze, 
Leipzig.    70  pp. 

1884.  ©efdu'djte  beg  ©onette§  in  ber  beutfdjen  Did;tung.   By  Heinrich 

Welti,  Leipzig.   255  pp. 
1889.    Caroline  Schlegel  and  her  Friends.    By  Mrs.  Alfred  Sidgwick, 

New  York.   255  pp. 

1891.   JRomantif  unb  9Jaturali3mu§.    By  Eberhard  Kraus,  Mitau.  51  pp. 
1895.  ©cf)Ieiertnad)er  unb  bie  Stomantif.   By  Otto  Kirn,  Basel.  40  pp. 
1899.  25ie  gru^jeit  ber  3?omantif.    By  S.  Lublinski,  Berlin.   152  pp. 

Volume  I  in  the  four  volumes  of  "  Litteratur  und  Gesellschaft." 

1899.  ^einrid)  ipeine  unb  bie  beutjd^e  Siomantif.   By  Otto  zur  Linde, 

Freiburg  im  Breisgau.    219  pp. 

1900.  Sofepf)  ©orreg  al3  §erau§ge6er,  Sitteratur^iftorifer,  flritifer  im 

3ufammen^ange  mit  ber  jiingeren  S^omantif .  By  Franz  Schultz, 
Berlin.  48  pp. 

[197] 


OUTLINE  OF  GERMAN  ROMANTICISM 

1900.  2)ie  romanifd)en  ©tropfjen  in  ber  3)icf)tung  beutfcf)er  5Romanti!er. 

By  Emil  Hiigli,  Zurich.    102  pp. 

1901.  The  Influence  of  India  and  Persia  on  the  Poetry  of  Germany. 

By  Arthur  F.  J.  Remy,  New  York.   81  pp. 

1901.  3tomantil,  9teuromantif  unb  bie  grauenfrage.  By  Oskar  F.  Wal- 
zel.  In  Archiv  fur  das  Studium  der  neueren  Sprachen  und  Lit- 
teratur,  Volume  CVII. 

1901.  2)a§  Siebe^le&en  iplberlinS,  SenauS,  £>eine§.    By  Oskar  Klein- 

Hattingen,  Berlin.   326  pp. 

1902.  •fteufyocfybeutftfje  2Mrif.    By  J.  Minor,  Strassburg.    537  pp. 

1903.  2)ie  etfyij'cfyen  9Jeuerungen  ber  griif)=3iomantif.     By  Hermann 

Gschwind,  Bern.    136  pp. 

1903.  3tol)el  33arnf)agett  unb  bie  Jtomantif.    By  Emma  Graf,  Berlin. 

106  pp. 

1904.  3cttfdjriften  ber  3tomantif.    By  O.  Fr.  Walzel  and  Heinrich  Hub. 

Houben,  Berlin.  524  (quarto)  pp.  An  invaluable  and  indispen- 
sable collection. 

1904.  S5ie  ^robleme  ber  9Jomanttf  al3  ©runbfragen  ber  ©egenroart. 
By  Oscar  Ewald,  Berlin.  227  pp. 

1904.  Xfjeorie  beg  9ioman§  unb  ber  ©rja^lfunft.  By  Heinrich  Keiter  and 
Tony  Kellen,  Essen-Ruhr.  314  pp. 

1904.  Sdfofc  Soefjme  unb  bie  9lomantifer.  By  Edgar  Ederheimer,  Hei- 
delberg. 128  pp. 

1904.  SBUfjelm  §einfe  unb  fern  ©infhrjj  auf  bie  3tomantil.  By  Hans 
Nehrkorn,  Goslar.  85  pp. 

1904.   -JMe^fcfje  unb  bie  S'lomantif.   By  Karl  Joel,  Leipzig.  367  pp. 

1904.  2Bielanb§  33estef)ungen  ju  ben  beutfd^en  9iomanttfern.  By  Ludwig 
Hirzel,  Bern.  100  pp.  In  llnterfuc^ungen  jur  neuern  @praa^= 
unb  &itteraturgefcJ)id[)te,  Volume  4. 

1904.  Romantisme  et  Protestantisme.  By  E.  Dubedout.  16  pp.  In 
Modern  Philology,  Volume  I,  No.  i,  pp.  117-133. 

1904.  Spfeuboromanti! :  ^rtebrtcf)  $inb  unb  ber  2)regbener  SieberlreiS. 

By  H.  A.  Kriiger,  Leipzig.    219  pp. 

1905.  Types  of  Weltschmerz  in  German  Poetry.    By  Wilhelm  Alfred 

Braun,  New  York.   91  pp.    Treats  Hblderlin,  Lenau,  Heine. 
1905.  2)er  tnagifdje  3>beali3mu3.  ©tubien  jur  ^p^ilofop^ie  be§  9totwU§. 

By  Heinrich  Simon,  Heidelberg.    158  pp. 
1905.  2)orotfjea  ©d^Iegel  ate  <Sd)rift(teEerin  im  3ufammen^ange  mit  ber 

romantifcf)en  ©C^ule.     By  Franz  Deibel,  Berlin.    188  pp.     In 

Palaestra,  Volume  40. 

[I98] 


GENERAL  TREATISES  ON  SPECIAL  PHASES 

1905.  2lbal6ert  ©tifter  unb  bie  3totnantif.  By  Wilhelm  Kosch,  Prag. 
129  pp.  In  Prager  dentsche  Studien. 

1905.  3tomantifcf)e  ©lemente  bei  Sfjeobor  ©torm.   By  Willrath  Dreeser, 

Dortmund.    n6pp. 

1906.  liber  bie  ©ntroicfelung  be§  romantifdjen  ^unftma'rcfjenS.  By  Her- 

mann Todsen,  Berlin.    123  pp. 

1906.  ©tubien  jur  neufyod&beutfdjen  £egenbenbicf)tung.  ©in  33eitrag  jur 
©efdjidjte  be§  beutfd)en  ©eifteSlebenS.  By  Paul  Merker,  Leip- 
zig- i53  PP- 

1906.  £>ie  ©ntnricfelung  beg  ;JJaturgefu&I§  in  ber  beutfdjen  Sitteratur  be§ 
neuitjef)nten2>a&rf)unbert3.  By  Siegmar  Schultze,  Halle.  170  pp. 

1906.  griebrid)  £iec! :  ©in  Seitrag  jur  beutfo)en  ^unftgejd)id)te  im  3«t= 

alter  ©oet^e§  unb  ber  Siomanti!.  By  Edmund  Hildebrandt, 
Leipzig.  203  (quarto)  pp. 

1907.  $er  ©influfe  ber  SRomanttf  auf  bie  SSerttefung  be^  5RationaIgefii^Ig. 

By  Franz  Guntram  Schultheiss.  In  ArchivfiirKultur-Geschichte, 
Volume  5,  pp.  55  to  82. 

1907.  Studies  in  German  Romanticism.  By  Martin  Schutze,  Chicago. 
58  pp.  Deals  with  the  repetition  of  words  as  a  means  of  sus- 
pense in  the  drama  under  the  influence  of  Romanticism. 

1907.  Def)lenfd)Itiger  in  feinen  perfonlirf)en  33ejiebungen  ju  (Soetfje,  £tecf 
unb  i£>eb6el.  By  Albert  Sergei,  Rostock.  144  pp. 

I9°7-  3ur  ®efcf)id)te  ber  Sjbeibelberger  Stomontif.  By  Wilhelm  Kosch. 
10  pp.  In  Euphorion,  Volume  14. 

1907.  Jean  Paul  Friedrich  Richter  and  E.  T.  A.  Hoffmann;  a  Study  in 

the  Relations  of  Jean  Paul  to  Romanticism.  By  Robert  Hern- 
don  Fife,  Jr.,  Cambridge.  32  pp.  In  Publications  of  the  Modern 
Language  Association,  Volume  22. 

1908.  $pl)ilofop&ifd)e  ©tromungen  ber  ©egenroart.    By  Ludwig  Stein, 

Stuttgart.  452  (large)  pp.  Read  chapter  iv,  "  Die  neuroman- 
tische  Bewegung,"  58  pp. 

1909.  Die  $oeti!  ber  beutfcfjen  9tomantifer.   By  Chr.  D.  Pflaum,  Berlin. 

70  pp. 
1909.  3ftardjen=£>idjtungber3tomantifer.  By  Richard  Benz,Gotha.  262pp. 

1909.  The  Romantic  Triumph.     By  T.  S.  Omond,  New  York.    Read 

chapter  v,  "  The  Romantic  Triumph  in  Germany,"  pages  280 
to  345- 

1910.  2)ie  3eitfd)*iften  b*r  Sfomantif.     By  Johannes  Bobeth,  Leipzig. 

431  pp.  Discusses  the  journals  mentioned  in  Walzel  and  Hou- 
ben's  work.  An  invaluable  book. 


OUTLINE  OF  GERMAN  ROMANTICISM 

1910.  3)ie  romcmtifdje  23eroegung  in  ber  amerifanifcljen  Siteratur.  By 
Walter  Just,  Berlin.  90  pp.  Treats  Brown,  Poe,  Hawthorne. 

1910.  Grillparzer's  Attitude  toward  Romanticism.     By  Edward  John 

Williamson,  Chicago.    76  pp. 

1911.  (Sbgar  2Ulan  $oe  unb  bie  beutfdje  9lotnantif.   By  Paul  Wachtler, 

Leipzig.    109  pp. 

191 1.  Protestant  Thought  before  Kant.  By  Arthur  Cushman  M'Giffert, 
New  York.  261  pp.  Though  this  book  treats  the  period  im- 
mediately preceding  the  really  Romantic  epoch,  it  is  invalu- 
able because  of  the  preparation  it  gives  for  the  Romantic 
epoch  itself;  it  shows  where  Romantic  theology  came  from. 
It  is  delightfully  written,  contains  a  clear  statement  of  Pietism 
and  Rationalism,  and  an  elaborate  bibliography. 

1911.  SRomcmttfclje  JloueUen.  By  Josef  Nadler,  2  volumes,  Regensburg. 
Contains  good  general  introduction  and  notes,  and  novelettes 
from  Kleist,  Tieck,  Hoffmann,  Brentano,  Eichendorff,  Arnim, 
Fouque. 

1911.  The  German  Romantic  "  Marchen."   By  Robert  Herndon  Fife,  Jr. 

19  pp.    In  Modern  Philology,  Volume  IX,  No.  2. 

1912.  German   Poems   (1800-1850).    Edited  by  John  Scholte  Nollen, 

Boston.  405  pp.  Contains  poems  from  33  poets  of  the  period, 
with  sensible  introduction  and  sufficient  notes. 

1912.  3Jomantifrf)e  Bronte  unb  romantifcfye  ^omobie.  By  M.  Pulver, 
Freiburg  i.  B.  36  pp. 

1912.  3)ie  (Sntnritfelung  be3  $ithlen3  unb  SenfenS  ber  3lomantif  auf 
©runb  ber  romantifdjen  3ettfd^rtften.  By  Alfred  Weise,  Leip- 
zig. 188  pp. 

1912.  SUKU3  9JJofen3  ^Srofa.  ©in  Seitrag  jur  Siteraturgefdjicfyte  ber  9^0= 

mantif  unb  be^  Sungen  2)eutfd)tanb.  By  WTerner  Mahrholz, 
Weimar.  115  pp. 

1913.  ©djleiermadjer  unb  ©oetfye.   ©in  Seitrag  jur  ©efcfjicfjte  beg  beut= 

fd;en  ©eifte^.   By  H.  Scholz,  Leipzig.   72  pp. 


[  2OO  ] 


SECTION  V 
SECTIONAL  TREATISES   IN  GENERAL  HISTORIES 

The  student  of  Romanticism  should  first  acquire  a  work- 
ing perspective ;  he  should  first  try  to  see  the  relation  of 
the  parts  of  the  movement  to  each  other  and  to  the  whole, 
so  that,  to  quote  Lowell  on  Cromwell,  he  can  "distinguish 
between  the  blaze  of  a  burning  tar-barrel  and  the  final  con- 
flagration of  all  things."  This  broad  view  can  be  obtained 
by  reading  any  of  the  following  sectional  treatises,  though 
some  are  naturally  much  better  than  others.  To  begin  at 
the  beginning,  Vilmar  wrote  eine  treffltdje  beutjdje  Stteratur^ 
gefdjtdjte,  but  his  treatment  of  Romanticism  is  brief  and  long 
since  superseded.  Only  the  serious  student,  one  intend- 
ing to  do  doctoral  work,  need  linger  long  over  Schmidt, 
Koberstein,  Gervinus  and  Goedeke,  while  Hosmer  is  now 
an  old  model.  It  is  with  the  making  of  books  as  with  the 
making  of  machinery,  in  that,  other  things  being  equal,  the 
model  of  this  year  is  an  improvement  over  that  of  last  year. 

For  the  general  student,  the  year  1900  saw  the  first 
absolutely  valuable  study  of  German  Romanticism  in  a 
general  history.  And  if  Meyer  is  not  entirely  satisfactory, 
it  is  only  because  his  book  does  not  reach  back  into  the 
eighteenth  century.  Francke  is  good  because  of  his  sug- 
gestive, if  not  always  tenable,  theory  of  the  collectivistic  and 
the  individualistic.  Moore  is  well  illustrated  and  contains 
some  out-of-the-way  facts.  If,  however,  one  of  these,  his 

[201] 


OUTLINE  OF  GERMAN  ROMANTICISM 

reference  to  Redwitz's  "Amaranth,"  should  lead  the  student 
to  look  upon  this  as  a  bit  of  Romanticism  of  real  literary 
value,  it  would  be  a  pity.  Robertson's  first  work  is  full  and 
will  give  the  student  an  excellent  bird's-eye  view  of  the 
whole  field,  Coar  contains  good  matter  on  the  drama,  Vogt 
and  Koch  need  no  mention,  and  Goetze  has  everything. 
Wells  has  some  interesting  material  on  Jean  Paul;  Lam- 
precht  is  wordy  and  philosophic  and  yet  superficial,  no  one 
human  being  can  control  the  material  that  Lamprecht  in- 
cludes ;  Engd  is  unique  in  that  he  approaches  the  matter 
not  from  the  point  of  view  of  "  movements,"  but  from  that 
of  individuals  who  "moved "and  were  "moved."  To  praise 
Scherer  is  to  carry  diamonds  to  South  Africa ;  Priest  con- 
tains many  facts  and  little  discussion  ;  TkerraS,  ctespite  his 
unsympathetic  attitude,  gives  a  sane  account;  of  the  literary 
worth  of  the  movement ;  Kummer  is  the  one  work  that  most 
nearly  makes  this  outline  dispensable.  Konig  contains  illus- 
trations and  gives  plots,  Biese's  discussions  and  estimations 
are  admirable,  and  Riemann  is  about  the  best  work  for.  the 
beginner  to  read  in  German.  Of  his  work  he  says  :  9ftem 
Seftreben  gef)t  bafjtn,  bte  grofcen  (SnttDtdelungSlimen,  bte  Gn> 
toetterimg  be3  @tofffretje3,  bte  tiberttrinbimg  ber  SRomanttf; 
unb  2Str!Itd)fett§frf)eu,  fcfyarf  fjeraitgguar&etten.  He  has  done 
it.  Robertson's  latest  work  is  literary  in  form,  studied  in 
content,  small  of  size  and  sympathetic  in  attitude.  The 
reading  of  any  one  of  these  works  for  purposes  of  general 
orientation  cannot  be  too  strongly  recommended ;  to  read 
any  one  of  them  and  then  quit,  believing  that  thereby  a 
knowledge  of  German  Romanticism  has  been  acquired,  can- 
not be  condemned  too  strongly  as  one  of  the  contagious 
afflictions  of  this  age  from  the  academic  point  of  view.  To 

[  202  ] 


SECTIONAL  TREATISES  IN  GENERAL  HISTORIES 

read,  for  example,  the  sixty-three  pages  of  Karl  Storck's 
history  of  German  literature  that  discuss  "  Die  Romantik," 
and  then  to  imagine  that  one  knows  German  Romanticism 
would  be  like  crediting  one's  self  with  a  knowledge  of  Rome 
after  having  flown  over  the  eternal  city  in  a  monoplane. 
That  would  be  a  rather  happy  way  to  orient  one's  self  on 
the  city  of  the  Caesars.  But  Thorvaldsen,  when  asked  how 
long  it  would  take  to  become  thoroughly  acquainted  with 
Rome,  replied,  "  I  cannot  say ;  I  have  been  here  only 
twenty  years."  A  general  history  of  German  literature  is 
only  a  guide-book ;  one  must  read  the  lyric  and  epic  and 
dramatic  works  of  the  Romanticists  in  order  to  understand 
Romanticism,  in  order  to  appreciate  the  worth  and  the 
worthlessness  of  the  general  histories  that  contain,  among 
many  other  things,  a  brief  sketch  of  the  most  comprehensive 
movement  that  ever  concerned  intellectual  Germany.  One 
can  lecture  about  Romanticism,  now,  without  ever  hav- 
ing read  a  line  of  it ;  one  can  interpret  Romanticism  only 
after  reading  the  Romanticists  themselves,  and  not  merely 
reading  about  them.  Aside  from  the  general  treatises  briefly 
noted  above,  some  others  of  a  slightly  different  nature  are 
subjoined. 

1856.  A.  F.  C.  Vilmar:  ©efd)id)te  ber  beutfdjen  9Zational=2iteratitr,  Mar- 
burg. Pages  660-695. 

1867.  Julian  Schmidt:  ©efdjtdjte  ber  beutfdjen  Siteratur  feit  SefftngS 
£ob,  Leipzig.  Vol.  2,  complete,  654  pages;  Vol.  3,  pages  1-316. 

1873.  August  Koberstein :  ©efcf)td)te  ber  beutfdjen  9tottonalliteratur  com 

jroeiten  SBiertel  be§  18ten  3aljrf)unbert3  6i3  ju  OoetfjeS  £ob, 
Leipzig.   Vol.  4,  pages  543-955- 

1874.  G.  G.  Gervinus :  ©efcfjtdjte  ber  beutfdjen  2>id)tung,  Leipzig.  Vol.  5, 

pages  631-816. 

1879.  James  K.Hosmer:  A  Short  History  of  German  Literature,  St.Louis. 
Pages  474-545- 

[203] 


OUTLINE  OF  GERMAN  ROMANTICISM 

1887.  Ludwig  Salomon :  ©efdEjtcfyte  ber  beutfcfyen  SZationaUitteratur  be§ 
neunje^nten  Si^rfjunbert^,  Stuttgart,  663  (large)  pages,  illus- 
trated. For  the  complete  Romantic  movement,  read  pages  i  to 
403;  "Die  romantische  Schule,"  pages  58  to  106.  Contains 
many  quotations. 

1898.  Karl  Goedeke:  ©runbrtfj  jur  ©e[tf)id)te  ber  beutfdjen  £>id)tung, 
Leipzig,  Berlin,  Dresden.  Volume  6. 

1900.  Richard  M.  Meyer:  Sie  beutftf)e  Sitteratur  beg  19ten  ^a^r^un^ 

bert<3,  Berlin.    Pages  1-243. 

1901.  Carl  Busse:  ©efcfjtdjte  ber  beutfcfjen  2)idE)tung  im  neunjefintett 

2>flfjrf)Unbert,  Berlin,  162  pages;  Romanticism,  pages  i  to  no. 
Covers  the  ground  from  Klopstock  to  Sudermann. 

1901.  Georg  Stockhausen:  25d3  beutfdEje  2itt(jri)Unbert,  Berlin,  797  (large) 
pages.  This  is  the  first  volume  of  an  eclectic  and  synthetic 
work  on  the  various  intellectual  phases  of  Germany  in  the 
nineteenth  century.  Stockhausen  is  the  editor ;  there  are  thir- 
teen contributors  on  twelve  different  topics.  C.  Busse  has  a 
chapter  on  the  literature,  Max  Osborn  writes  on  art,  J.  Duboc 
'and  P.  Wiegler  on  philosophy,  A.  Berthold  on  commerce  and 
law,  R.  Schmitt  on  history  and  Leopold  Schmidt  on  music. 
Such  a  work  is  of  great  value  for  the  specialist  in  Romanticism. 

1901.  Rudolf  von  Gottschall:  £)ie  beutftfje  ^attonalUteratur  be€  neun= 
jefjnten  ^flfyr f)unbert§,  Breslau.  The  most  elaborate  work  on  the 
century.  There  are  four  volumes.  Volume  I,  670  pages,  gives 
a  good  account  of  the  Romantic  movement  from  Wieland  to 
Immermann ;  Volume  II,  pages  i  to  160,  covers  the  reaction- 
ary period.  Gottschall  was  himself  a  poet  of  good  standing. 
He  died  in  1909.  His  history,  in  its  composition,  goes  back  to 
1855.  He  is  the  author  of  a  number  of  historical,  creative 
works — "Amy  Robsart,"  "  Pitt  und  Fox,"  "  Katharina  Howard." 

1901.  Kuno  Francke :  A  History  of  German  Literature,  New  York. 
Pages  301-547. 

1901.  Robert  W.  Moore:    History  of  German  Literature,  Hamilton, 

N.  Y.    Pages  192-228. 

1902.  John  G.  Robertson:  A  History  of  German  Literature,  London. 

Pages  399-543- 

1903.  John  F.  Coar :  Studies  in  German  Literature  in  the  Nineteenth 

Century,  New  York.    Pages  1-225. 

1904.  Friedrich  Vogt  and  Max  Koch  :  ©efcfjtdjte  ber  beut[d(jen  Siteratur, 

Leipzig  and  Wien.    Vol.  2,  pages  307-429. 

[204] 


SECTIONAL  TREATISES  IN  GENERAL  HISTORIES 

1905.  Edmund  Goetze :  ©runbrijj  jur  ©ei'd)icf)te  ber  beutfcijen  Sidjturtg, 

Leipzig,  Dresden,  Berlin.    Volume  8. 

1906.  Benj.  \V.  Wells :    Modern  German   Literature,   Boston.     Pages 

290-365. 

1907.  Karl  Lamprecht :  2)eutfcfje  ©efd)tcf)te,  Berlin.    Volume  10,  Book 

24,  complete,  539  pp.    Pages  3-258  for  Romantic  literature. 

1907.  Eduard  Engel :  ©efcf)id)te  ber  beutfdjen  Stteratur  t>on  ben2lnfangen 

bi§  in  bie  ©egenroart,  Leipzig  and  Wien.  Two  large  volumes. 
Volume  II,  pages  689-828.  This  is  the  second  edition.  The 
work,  written  for  bie  9Jtd)trotffenben,  contains  illustrations  and 
many  quotations. 

1908.  Wilhelm   Scherer:    ©efcf)id)te   ber   beutfdjen   Stteratur,    Berlin. 

Pages  614-720. 

1909.  George  M.  Priest :  A  Brief  History  of  German  Literature,  New 

York.    Pages  245-292. 
1909.    Calvin  Thomas:   A  History  of  German  Literature,  New  York. 

Pages  328-376. 
1909.   Friedrich  Kummer:  Seutfdje  Siteraturgefcfjtcfjte  be3  19.  2>af)rf)un= 

bert3,  Dresden.    Pages  65-283. 

1909.  Adolf  Bartels:  <Qanb6ud)  jur  ©efrf)icf)te  ber  beutfcfjen  Siteratur, 

Leipzig,  859  pages  (2d  edition).  This  book,  though  not  critical 
and  occasionally  inaccurate,  contains,  in  brief  space,  a  vast 
deal  of  information.  It  does  not  cost  much  money,  and  the 
student  can  save  much  time  by  using  it. 

1910.  Robert  Konig:  2)eutfd)e  Siteraturgefcfjicfjte,  Bielefeld  and  Leipzig. 

Volume  2,  pages  128-265. 

1910.  Otto  von  Leixner:  ©efcfjtdjte  ber  beutfcfjen  Stteratur,  Leipzig. 
This  edition  was  prepared  by  Ernst  Friedlander;  it  contains 
numerous  illustrations  and  facsimiles.  There  are  1098  (large) 
pages.  Romanticism  is  discussed  from  page  558  to  page  628. 
Leixner  treats  many  small  people. 

1910.  E.  Arnold:  3>Huftrierte  beutfcfje  Siteraturgefcfjtcfyte,  Berlin,  468 
pages.  "Die  romantische  Schule,"  pages  270  to  314;  "Das 
junge  Deutschland,"  pages  319  to  335.  Contains  many  facts  ; 
is  uncritical. 

1910.  Otto  Hauser:  2BeItgefdE)icf)te  ber  Stteratur,  Leipzig  and  Wien. 
There  are  two  volumes ;  the  second  discusses  the  Germanic 
literatures.  German,  pages  i  to  260 ;  Romanticism,  pages  197 
to  221.  This  is  a  valuable  work  from  the  point  of  view  of 
comparative  literature. 

[205] 


ign.  J.  G.  Robertson:  Outlines  of  the  History  of  German  Literature, 
New  York  and  Edinburgh,  320  pages.  Though  entirely  re- 
written, this  is,  as  the  title  indicates,  a  condensation  of  Robert- 
son's larger  work  of  1902.  It  contains  a  good  account  of 
Romanticism,  pages  178  to  253,  and  a  good  working  chrono- 
logical list  from  Wulfila  to  Nietzsche. 

1912.  Alfred  Biese :  3)eutfdE)e  £iteratvtrgeftf)icf)te,  Munchen,  3  volumes. 
For  Romanticism,  read  Volume  2,  pages  288  to  693,  and 
Volume  3,  pages  i  to  13. 

1912.  Robert  Riemann :  £>a§  19.  2>aE)tf)unbert  ber  beutfcljett  Siteratur, 

Leipzig.  For  Romanticism,  read  pages  i  to  338.  Riemann  lists 
Grillparzer  with  the  Romanticists  and  discusses  him  from  page 
113  to  page  125.  Of  Grillparzer,  Riemann  says:  ^-ormeU  ftellt 
feine  Sitfjtung  eine  SSerfrfjmeljung  Don  $Iafftji3mu3  imb  3toman= 
tif  bar,  aber  in  ber  ^Bfncfjologie  greift  er  iiber  beibe  b,tnait§. 

1913.  Karl  Storck:  3)eutfcfje  £iteraturgefdn'dE)te,  Stuttgart,  623  pages. 

This  is  the  seventh  edition.  Pages  223  to  426  cover  the  period 
from  Wieland  to  Realism  ;  "  Die  Romantik  "  is  discussed  from 
page  323  to  page  386. 

1913.  J.  G.  Robertson:  The  Literature  of  Germany,  New  York,  256 
pages.  Romanticism  takes  up  eighty-seven  pages  of  this  work. 

No  year.  Leo  Melitz :  !£>ie  £&eaterftiicfe  ber  JBeltltteratttr,  Berlin  and 
Leipzig,  820  pages.  This  book  is  uncritical,  but  it  is  cheap 
and  intensely  useful.  It  contains,  aside  from  information  on 
the  drama  in  general,  the  plots  of  practically  all  of  the  dramas 
that  have  had  success  on  the  stage.  The  student  can  get  from 
it  a  good  idea  of  the  contents  of  any  play ;  this  is  sometimes 
very  helpful.  It  is  a  recent  publication. 


[206] 


SECTION  VI 

LETTERS  OF  THE  MAIN  ROMANTICISTS 

The  practice,  indeed  the  art,  of  writing  letters  flourished 
in  Germany  during  the  days  of  Romanticism  as  never  be- 
fore or  since.  By  concerning  themselves,  in  many  instances,\ 
precious  little  with  the  precarious  politics  of  the  coun-  ) 
try  that  was  theirs,  the  Romanticists  found' time  for  corre-  / 
spondence.    By  laying  great  stress  on  the  value  of  friends 
and  friendship,  they  found  people  with  whom  to  correspond. 
For  an  understanding  and  appreciation  of  their  works  their 
letters  are,  therefore,  of  fundamental  importance.    There 
is,  for  example,  as  much  Romanticism  in  the  last  letter 
that  Wackenroder  wrote  to  Tieck  in  1792  —  both  were 
then  nineteen  years  old  —  as  in  any  other  seven  pages 
written  by  any  scholar  on  any  phase  of  the  movement 
(Holtei,  III,  228-236). 

The  difference  between  the  correspondence  of  the  Berlin- 
Jena  and  the  Heidelberg  group  is  instructive.  The  letters  of 
the  former  are  sentimental,  conventional,  and  replete  with 
eighteenth-century  formalities  and  peculiarities.  Wacken- 
roder writes  to  Tieck  as  though  he  were  addressing  his 
fiancee.  A.  W.  Schlegel's  letters  are  pedantic  and  didactic. 
Those  of  Novalis  do  not  sound  as  though  they  had  been 
written  by  a  robust,  virile  man.  Schleiermacher's,  however, 
are  more  manly  and  they  are,  at  the  same  time,  so  filled 
with  carefully  elaborated  ideas  that  they  belong  to  literature. 

[207] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Caroline  Schlegel's  correspondence  shows  that  the  sobriquet 
"  Madame  Luzifer  "  was  happily  applied.  Both  she  and 
Dorothea  wrote  more  interestingly  than  the  Schlegel  men. 
The  younger  Romanticists  wrote  in  a  more  natural, 
more  graphic  style.  The  letters  of  Arnim  betray  the  big, 
healthy  soul  that  he  was.  Brentano  could  become  eloquent 
in  a  simple  note.  Eichendorff 's  candid  character  is  delight- 
fully exemplified  in  the  few  letters  we  have  from  his  hand. 
Kleist's  letters  are  predominantly  didactic.  He  was  naturally 
secretive  and  laid  bare  his  heart  rarely  and  then  to  his  sister 
Ulrike.  The  letters  of  the  Grimms  abound  in  charming 
pictures  and  pleasing  folk  tones.  Korner  and  Schenk- 
endorf  wrote  letters  as  they  wrote  poems.  Arndt  always 
called  things  by  their  right  names  in  his  ebullient  epistles. 
Bettina,  however,  was  the  mistress  of  letter-writing. 

COLLECTIONS 

SBrtefe  an  Subnrig  Xiecf.  Selected  and  edited  by  Karl  von  Holtei, 
4  volumes  in  2,  Breslau,  1864.  There  are  1493  pages  in  this  collection, 
a  complete  list  of  names,  tables  of  contents,  introductions  and  short 
biographical  sketches  of  Tieck's  numerous  correspondents.  It  is  the 
most  important  single  collection  of  Romantic  letters. 

©oetfye  imb  bie  SHomantif.  By  Carl  Schiiddekopf  and  Oskar  Walzel, 
Weimar,  1898.  Volumes  13  and  14  of  the  publications  of  the  "  Goethe- 
Gesellschaft."  The  first  contains  Goethe's  correspondence  with  the 
Schlegels,  Schelling,  Steffens  and  Tieck.  The  second  that  with  Z.  Wer- 
ner, A.  H.  Miiller,  Kleist,  Brentano,  Arnim,  Bettina,  the  Grimms, 
Fouque,  Chamisso,  Immermann,  Platen,  Heine,  Eichendorff.  There 
are  introductions,  notes,  indices,  etc.  It  is  the  second  most  important 
single  collection  of  Romantic  letters.  781  pp. 

£)te  Shifter  beg  beutfcfyen  SBriefeS.  By  Theodor  Klaiber  and  Otto 
Lyon,  Leipzig  and  Bielefeld,  1901.  529  pp.  The  book  covers  the  period 
from  the  sixteenth  century  to  modern  times.  The  rise  of  letter-writing 
is  discussed  and  specimens  are  given  from  the  important  writers.  Pages 
247  to  361  concern  especially  the  student  of  Romanticism. 

[208] 


LETTERS  OF  THE  MAIN  ROMANTICISTS 

2lu§  @d)Ieiermacf)er3  Seficn  in  Sriefen.  Three  volumes,  Berlin,  1860- 
1861,  second  edition.  It  would  be  difficult  to  overestimate  the  value  of 
this  collection.  The  first  volume,  407  pages,  covers  the  period  from 
Schleiermacher's  childhood  to  his  appointment  at  Halle  in  1804.  It 
contains  Schleiermacher's  autobiography,  written  in  1794,  and  letters  to 
Henriette  Herz,  E.  von  Willich,  Eleonore  G(riinow),  Henriette  von 
Miihlenfels,  his  immediate  relatives  and  others.  The  second  volume, 
513  pages,  covers  the  period  from  1804  to  his  marriage  in  1809  and 
contains  letters  to  and  from  E.  M.  Arndt,  Schleiermacher's  wife,  Grafin 
Luise  von  Voss  and  others.  The  third  volume,  437  pages,  covers  the 
period  from  1809  on  and  is  of  great  value  because  of  the  letters 
to  and  from  the  Schlegels. 

2lu3  bem  9?ad)lafje  33arnb,agen§  con  Sn[e.  Leipzig,  1865.  Contains 
letters  from  Stagemann,  Metternich,  Heine,  Bettina.  407  pp. 

2>ean  ^SaulS  33latter  ber  SSerebrung.  33riefroed)[el  mit  grojjen  SJZannern. 
Edited  by  E.  J.  Forster,  Miinchen,  1865.  347  pp. 

£b,eater=33riefe  con  ©oetfye  unb  freunbfcbaftlicfje  SBriefe  con  2>ean  $aul. 
Berlin,  1835.  166  pp. 

9Jot)ali3  Sriefroedjjel  mit  ^riebrid),  2luguft  SBilfjelm,  Gfyarlotte  unb 
Caroline  ©cfjlegel.  Edited  by  J.  M.  Raich,  Mainz,  1880.  192  pp. 

$riebrid)  @d)legel.  33riefe  an  feinen  33ruber  3lugitft  SSil^elm  @d)legel. 
Edited  by  O.  F.  Walzel,  Berlin,  1890.  680  pp. 

Sorotfjea  von  ©a^legel^  33rieftt>ed)fel.  Edited  by  J.  M.  Raich,  Mainz, 
1881.  904  pp. 

2>of)ann  Valentin  Xeia^mann§  literari[d)er  9?ad)Ia§.  Edited  by  Franz 
Dingelstedt,  Stuttgart,  1863.  466pp.  Contains  112  letters  by  Iffland, 
Schiller,  Beyme,  Goethe,  Briihl,  Kleist,  A.  W.  Schlegel,  Tieck,  Z.  Wer- 
ner, Kotzebue,  P.  A.  Wolff. 

(HemenS  Stentano^  ge'fammelte  33riefe  (1795-1&42).  Frankfurt  am 
Main,  1855.  Two  volumes,  indexed. 

Siemens  SrentanoS  ^rityltngftlraitg,  in  Sriefen,  i^m  geflodjten,  rote  er 
jelb[t  e§  fd^riftlic^  oerlangte.  Edited  by  Paul  Ernst,  Leipzig,  1907.  Two 
volumes.  Fantastic  letters.  423  (small)  pp. 

33riefe  an  3*ean  ^aul  unb  beffen  (Sattin.  Edited  by  Paul  Nerrlich, 
Berlin,  1882.  189  pp. 

5nebrtd)  loolberlinS  Seben  in  93riefen  Don  unb  an  §olberlin.  Edited 
by  K.  K.  T.  Litzmann,  Berlin,  1890.  684  pp. 

gouque,  3lpel,  2Rilti^.  33eitrage  jur  ©efdjidjte  ber  beutfa^en  S^omantif. 
Edited  by  Otto  Eduard  Schmidt,  Leipzig,  1908.  220 pp.  Contains  12  illus- 
trations. A  valuable  collection,sincc  such  contributions  onFouque  are  rare. 

[209] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Slug  £f)amiffo3  ^rii^eit.  llngebrucfte  SBriefe.  Edited  by  Ludwig  Gei- 
ger,  Berlin,  1905.  278  pp. 

Set  Sriefroedfjfel  be§  ©rafen  2luguft  von  platen.  Edited  by  Ludwig 
von  Scheffler  and  Paul  Bornstein,  Miinchen,  1911.  544  pp. 

£&eater=33riefe  oon  $arl  ^mntermann.  Edited  by  Gustav  zu  Putlitz, 
Berlin,  1851.  144  pp. 

©buarb  2JZ6rife3  S3riefroed)fel.  Edited  by  Karl  Fischer  and  Rudolf 
Krauss,  Berlin,  1903-1904.  Two  volumes  in  i.  709  pp. 

gacfyariaS  2Berner3  Srtefe  an  Caroline  con  §umbolbt.  Albert  von 
Leitzmann,  in  Euphorion,  1909.  Volume  16,  pages  93-100,  425-434. 

Sriefe  »on  greifjerrn  2>ofepl)  Don  @icf)enborff.  In  the  i2th  volume  of 
Eichendorff's  works,  edited  by  Kosch  and  Sauer,  Regensburg.  Indexed. 

351  PP- 

Sriefe  an  ^reifjerrn  Sofepf)  oon  ©idEjenborff.  In  the  i3th  volume  of 
Eichendorff's  works,  edited  by  Kosch  and  Sauer,  Regensburg.  Indexed. 

39°  PP- 

23riefn)ec&fel  jnrij'dOen  3o[ep^  5re^errn  °°n  Sajjberg  unb  Subroig 
Uhlanb.  Edited  by  Franz  Pfeiffer,  Wien,  1870.  342  pp. 

$rtebrid)  9tudEert  unb  Sofeplj  ^opp  (1837-1842).  Edited  by  Friedrich 
Reuter,  Altona,  1895.  4^  PP- 

w^^ilologifo^e^"  au^  5rie^r^  3iudertg  SBrtefen  an  3-  §•  §artung. 
By  Fr.  Hartung,  Magdeburg,  1888.  25  pp. 

jQeinridE)  §eineg  Sriefe  an  feinen  5reunb  9)Jofeg  9JJofer.  Leipzig,  1862. 
232  pp. 

§eine=33riefe.    Edited  by  Hans  Dams,  Berlin,  1907.    Two  volumes. 

§einridj  won  $Ietft3  ^eben  unb  S3riefe.  By  Eduard  von  Bulow,  Berlin, 
1848.  286  pp. 

ijbeinridE)  oon  ^leift:  23riefe  an  jeine  ©o^roefter  lllrife.  Edited  by 
August  Koberstein,  Berlin,  1860.  164  pp. 

iQeinndE)  t>on  $leift :  Sriefe  an  feine  33raut.  Edited  by  Karl  Bieder- 
mann,  Breslau,  1884.  250  pp. 

Sjbetnrtd)  con  ®Ieift  in  feinen  Sriefen.  By  Roderich  Markentin,  Hei- 
delberg, 1900.  47  pp. 

§einridE)  con  5lleiftg  SSerle.  The  Minde-Pouet,  Steig,  Schmidt  (Bib- 
liographischeslnstitut)  edition,  Volume  5,  contains  the  necessary  letters. 
509  pp.  They  can  also  be  found  in  the  Eloesser  (369  pages),  Herzog, 
and  Muncker  (Cotta)  editions. 

3)orotE)ea  unb  ^-riebridE)  ©cglegel.    Sriefe  an  bie  $amilie 
Edited  by  R.  linger,  Berlin,  1913.    192  pp. 

[210] 


SECTION  VII 

THE  ROMANTIC  MAGAZINES 

The  beginning  of  every  new  movement,  practical  or 
aesthetic,  necessitates  the  establishment  of  an  official 
organ  through  which  its  aims  and  accomplishments  can 
be  made  known.  In  this  way  subscribers  are  secured 
and  informed.  The  Athendum  was  the  first  and  fore- 
most magazine  of  German  Romanticism,  first  chrono- 
logically and  foremost  because  of  its  maturity  from  the 
beginning;  it  was  full-grown  in  the  first  issue.  This 
being  the  case,  it  is  reasonable  to  suppose  that  it  was  pre- 
ceded by  other  magazines  sufficiently  similar  to  make  its 
pretentious  ctibut  possible,  sufficiently  dissimilar  to  make 
the  establishment  of  other  magazines  necessary.  The 
Athendum  had,  in  fact,  nine  important  predecessors. 

In  1789  August  Wilhelm  Schlegel  wrote  a  pungent 
and  trenchant  review  of  Goethe's  "  Torquato  Tasso  "  for 
the  Gottingische  gelehrte  Anzeigen.  In  1790  he  fol- 
lowed it  up  with  one  on  "  Faust,  ein  Fragment."  In  1791 
he  reviewed  some  of  Schiller's  poems.  His  life  at  Gottin- 
gen  brought  him  into  contact  with  Burger,  for  whose  Aka- 
demie  der  schonen  Redekunste  he  wrote  in  1 79 1  an  article 
entitled,  liber  be<3  £>cmte  ^Uigfytert  gi)tt(ttf)e  $omobte,  an  arti- 
cle which,  in  some  respects,  may  be  looked  upon  as  the 
first  sally  in  the  Romantic  campaign.  It  was  the  first  of  the 
important  invasions  into  the  Romanic  field,  many  of  which 

[211] 


OUTLINE  OF  GERMAN  ROMANTICISM 

were  to  follow.  And  it  was  owing  to  a  review  of  Schiller's 
"  Kiinstler  "  in  the  same  magazine  that  caused  Schiller,  as 
early  as  1 795,  to  express  the  wish  that  Schlegel  might  come 
to  Jena.  He  went.  Soon  he  was  writing  for  the  third 
of  these  pre-Athenaum  magazines  —  Schiller's  Horen. 
Inspired  by  Schiller's  "  Uber  naive  und  sentimentalische 
Dichtung,"  Schlegel  wrote  for  the  Horen  his  article  en- 
titled S3rtefe  fiber  ^oefte,  ©itbenmafe  unb  (Spracfje.  In  the 
same  journal  he  discussed  Dante  again,  but  what  is  vastly 
more  important,  he  turned  his  attention  to  the  North,  to 
Shakespeare,  and  made  the  pioneer  contention  that  Shake- 
speare should  be  translated  into  the  original  metre  and  gave 
some  specimens  from  "  Romeo  and  Juliet,"  "The Tempest " 
and  "Julius  Caesar."  And  Fichte,  who  had  been  living 
in  Jena  since  1794,  wrote  an  article  for  the  Horen  on 
the  significant  subject  Ubcr  93ctebung  unb  (Mjofyung  be3 
retncn  £>ntcrcffc3  fiir  2Sa()d)ctt.  Sophie  Mereau  likewise 
contributed.  She  wrote  entertainingly  on  "  Nathan  der 
Weise,"  Boccaccio  and  so  on.  Then  came  Schiller's 
Musenalmanach,  a  journal  for  poetry,  also  contributed 
to  by  Sophie  Mereau  and  August  Wilhelm  Schlegel. 

Schiller  at  once  recognized  in  Schlegel  the  critic  rather 
than  the  creator  and  introduced  him  accordingly  to  the 
most  important  of  these  nine  magazines,  the  Allgemeine 
Literaturzeitung  of  Jena.  It  was  established  in  1785  by 
Christian  Gottfried  Schiitz  and  was  continued  until  1848. 
Philosophically  it  leaned  toward  Kant.  During  the  three 
years  of  his  affiliation  with  this  magazine  Schlegel  wrote 
approximately  three  hundred  articles  for  it.  Two  of  the 
most  important  are  his  review  of  Voss's  translation  of 
Homer  (1796)  and  his  discussion  of  Goethe's  "  Hermann 

[212] 


THE  ROMANTIC  MAGAZINES 

und  Dorothea"  (1797).    A  break  with  the  policy  of  this 
journal  was  inevitable.    It  soon  came. 

In  the  meantime  the  other  Romanticists  were  browsing 
in  Rationalistic  fields.  About  1795  the  followers  of  the  En- 
lightenment were  only  too  glad  to  get  Friedrich  Schlegel's 
articles  on  Greek  literature.  To  Biester's  Monatsschrift 
he  sent  in  1794  his  essays  on  33on  ben  ©cfjuten  ber  grted)t= 
fcfjen  $poefte  and  $8om  cifthetifdfjen  2Berte  ber  grtccrjtfcfjen  ®o* 
mobte.  In  the  same  year  he  published  in  the  Monatsschrift 
fur  Damen  in  Leipzig  his  U6er  bie  Sarftettung  ber  toet6= 
Itdjen  (Eharaftere  in  ben  griedjijc&en  SHcfjtern.  In  course  of 
time  Friedrich  Schlegel  became  an  out-and-out  Romanti- 
cist, and  when  he  sought  for  admission  to  the  journals  for 
which  his  brother  was  writing  it  was  refused  him.  The 
break  between  Classicism  and  Rationalism  on  the  one 
hand  and  Romanticism  on  the  other  needs  now  but  a 
slight  touch  and  it  will  be  complete.  By  way  of  getting 
even,  Friedrich  Schlegel  began  to  write  for  Reichardt's 
Deutschland,  a  journal  that  also  had  a  grudge  against 
the  others.  Here  Friedrich  Schlegel  published  his  $er|ud() 
iiber  ben  23egriff  be3  $Repubttfam3mu3  and  showed  himself 
an  open  defender  of  woman  suffrage  and  cosmopolitanism, 
one  of  the  main  tenets  of  old  Romanticism.  And  in  the 
same  journal  appeared  his  attack  on  Schiller's  "  Wiirde 
der  Frauen."  The  gap  becomes  wider.  In  1796  appeared 
one  of  the  best  criticisms  he  ever  wrote,  and  one  of  great 
importance  for  the  proper  appreciation  of  the  Romantic 
theory,  —  his  review  of  Jacobi's  "Woldemar."  But  he 
had  not  yet  completely  broken  away  from  his  studies  in 
Greek;  his  liber  bie  fyomertjcfje  ^oefie  was  also  sent  in. 
It  is  possible,  however,  that  the  most  significant  article 

[213] 


OUTLINE  OF  GERMAN  ROMANTICISM 

published  in  the  Deutschland was  the  one  by  Wackenroder 
—the  only  time  Wackenroder  wrote  for  a  magazine — en- 
titled SfyrengebadjtmS  unfere3  efyrtoiirbigen  5lf)nt)errn  5Itbred)t 
2)itrer3  (1796).  It  revealed  at  once  the  love  for  Mediae- 
valism  and  Old  German  art  that  was  to  play  such  a  large 
role  in  later  Romanticism. 

Reichardt  had  trouble,  however,  with  the  critics  by  rea- 
son of  his  Deutschland,  so  he  let  it  die.  He  then  called 
into  being  a  purely  aesthetic  magazine,  Das  Lyceum  der 
schonen  Kiinste.  Contributions  from  Romanticists  were 
welcomed.  Friedrich  Schlegel  sent  in  his  excellent  criti- 
cism of  Forster.  It  was  published  (1797).  Then  came  his 
attempts  to  wrest  Lessing  from  the  charge  of  belonging  to 
the  Enlightenment.  He  criticised  "  Emilia  Galotti  "  as  an 
example  in  dramatic  algebra,  "  Nathan  der  Weise  "  as  the 
work  of  a  poet  with  a  great  soul. 

Then  there  was  Tieck.  He  was  now  writing  for  the 
Archiv  der  Zeit  und  Hires  Geschmackes.  It  was  a  Ration- 
alistic journal,  but  Tieck  was  running  in  a  goodly  number 
of  Romantic  ideas.  Bernhardi,  Tieck's  teacher,  was  writing 
for  the  same  journal,  criticising  the  theatrical  situation  in 
Berlin  and  attacking  Kotzebue  and  Iffland.  Tieck  attacked 
Lafontaine  and  praised  Goethe  and  Schiller.  The  Roman- 
tic side  of  this  Rationalistic  journal  began  to  predominate. 

And  finally  the  time  came  when  the  Romanticists  had 
to  have  their  own  organ.  Friedrich  Schlegel  had  attacked 
Schiller  in  the  Deutschland,  Schiller  had  ridiculed  Friedrich 
Schlegel  in  the  "Xenien."  Goethe  and  Schiller  were  now 
fast  friends,  and  they  had  great  weight  with  the  policy  of 
the  Allgemeine  Literaturzeitung.  And  this  journal,  aside 
from  what  had  already  happened,  could  have  nothing 

[214] 


THE  ROMANTIC  MAGAZINES 

to  do  with  the  author  of  "  Lucinde."  Also,  it  still  leaned 
toward  Kant,  with  whom  the  Romanticists  had  now  broken. 
They  lauded  Fichte.  And  A.  W.  Schlegel  could  also  find 
no  satisfaction  with  the  editors  of  the  most  important  jour- 
nal of  the  day.  So  they  broke  away  from  it,  one  and  all, 
and  forever.  The  Schlegels  and  Schelling  and  Tieck  in 
his  "  Das  jiingste  Gericht"  made  fun  of  the  only  journal 
worthy  of  their  services.  The  Romanticists  had  to  have 
an  official  organ  of  their  own.  In  the  course  of  their 
career  they  established  no  fewer  than  twenty-five  separate 
magazines,  as  follows  : 

2ltf)entium  (1798-1800),  Berlin.  Edited  by  A.  W.  and  Fr.  Schlegel. 
Chief  contributors :  the  Schlegels,  Novalis,  Schleiermacher,  Hiilsen. 

^oetifc^eg  journal  (1800),  Jena.  Edited  by  Tieck.  Chief  contribu- 
tors :  Tieck,  F.  Majer,  Friedrich  Schlegel. 

9JJemtmton  (1800),  Leipzig.  Edited  by  August  Klingemann.  Chief 
contributors :  August  Winkelmann,  Clemens  Brentano. 

$tmofarge§  (1802),  Berlin.  Edited  by  A.  F.  Bernhardi.  Chief  con- 
tributors :  Sophie  Bernhardi,  Friedrich  Schlegel. 

(Suropa  (1803-1805),  Frankfurt  am  Main.  Edited  by  Friedrich  Schle- 
gel. Chief  contributors :  Karl  von  Hardenberg,  Dorothea  Schlegel, 
J.  G.  Schweighauser,  A.W.  Schlegel,  Friedrich  Ast,  Helmina  von  Chezy. 

Spohjdjorbtt  (1803-1805),  Penig.  Edited  by  August  Bode.  Chief  con- 
tributors :  F.  Majer,  Kannegiesser,  F.  A.  Kuhn,  Seckendorf. 

^|3f)6bu<9  (1808),  Dresden.  Edited  by  Heinrich  von  Kleist  and  Adam 
H.  Miiller.  Chief  contributors  :  the  editors,  Fouque,  Oehlenschlager, 
Wetzel,  O.  H.  von  Loeben. 

$rotnetf)eu§  (1808),  Wien.  Edited  by  L.  von  Seckendorf  and  J.  L. 
Stoll.  Chief  contributors :  A.  W.  Schlegel,  J.  H.  Voss,  Z.  Werner. 

3eitung  fitr.  (Sinfieblcr  (1808),  Heidelberg.  Edited  by  Achim  von 
Arnim.  Chief  contributors :  Friedrich  Schlegel,  Jean  Paul,  Brentano, 
Gorres,  Uhland,  Christian  Schlosser,  Fouque.  (Published  in  book  form 
in  1808  under  the  title  "Trost  Einsamkeit.") 

^Bantfyeon  (1810),  Leipzig.  Edited  by  J.  G.  Busching  and  K.  L.  Kanne- 
giesser. Chief  contributors :  G.W.  Kessler,Raumer,  J.  Winkelmann,  Hen- 
riette  Schubart,  Friedrich  Wollank,  Romer,  Von  der  Hagen,  C.  Salfeld. 

[215] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Serliner  2U>enb6latter  (1810-1811),  Berlin.  Edited  by  Heinrich  von 
Kleist.  Chief  contributors :  Adam  MUller,  Kleist,  Arnim,  Friedrich 
Schulz,  Fouque,  Von  Mollendorff,  J.  E.  Hitzig. 

3)ie  S&^eSjetten  (1811-1814),  Berlin.  Edited  by  Fouque.  Chief 
contributor :  Fouque. 

S)eutjrf)es>  2JJltfeum  (1812-1813),  Wien.  Edited  by  Friedrich  Schlegel. 
Chief  contributors :  August  von  Steigentesch,  M.  Claudius,  Friedrich 
Miiller,  A.  W.  Schlegel,  Caroline  Fouque,  H.  W.  von  Gerstenberg, 
Ernst  Plainer. 

(Saltna  (1812,  1816),  Halle.  Edited  by  A.  G.  Eberhard,  A.  Lafon- 
taine,  et  al.  Chief  contributors  :  the  editors. 

2)te  2Rllfen  (1812-1814),  Berlin.  Edited  by  Fouque  and  Wilhelm  Neu- 
mann. Chief  contributors  :  F.  S.  von  Grunenthal,  Fr.  Riihs,  the  editors. 

2Binter=2Konate  (1814-1815),  Leipzig.  Edited,  possibly,  by  G.  J. 
Goschen.  Chief  contributors  :  obscure  writers. 

35te  §arfe  (1815-1819),  Leipzig.  Edited  by  Friedrich  Kind.  Chief 
contributors  :  Caroline  Fouque,  Friedrich  Kind,  Fouque,  F.  A.  Schulze, 
Luise  Brachmann,  Streckfuss,  Friedrich  Kuhn. 

£>te  Igefperibett  (1816),  Leipzig.  Edited  by  Otto  Heinrich,  Graf  von 
Loeben.  Chief  contributors :  Helmina  von  Chezy,  Von  der  Malsburg, 
Eichendorff,  Schenkendorf,  J.  Kerner. 

giir  ttliijjtge  ©tunbert  (1816-1821),  Jena.  Edited  by  Fouque.  Chief  con- 
tributors :  Caroline  Fouque,  J.  C.  Hohnbaum,  C.  Hohnbaum,  C.  W.  Justi, 
A.  Lafontaine,  G.  Reinbeck,  Freimund  Reimar,  Fr.  Sickler,  K.  E.  Schmid. 

SBttnfdjelrut&e  (1818),  Gottingen.  Edited  by  H.  Straube  and  J.  P. 
von  Hornthal.  Chief  contributors :  Loeben,  F.  W.  Carove,  W.  Grimm, 
Arnim,  Wilhelm  Miiller. 

3)ie  SJJorgenrotfie  (1819, 1821),  Elberfeld.  Edited  by  August  Gebauer. 
Chief  contributors :  Luise  Brachmann,  Helmina  von  Chezy,  Fouque, 
Caroline  Fouque,  Franz  Horn,  Loeben,  Fanny  Tarnow. 

Goncorbtd  (1820-1823),  Wien.  Edited  by  Friedrich  Schlegel.  Chief 
contributors :  Franz  Baader,  Adam  Miiller,  Z.  Werner,  Bucholtz. 

3)te  3)hlfe  (1821-1822),  Leipzig.  Edited  by  Friedrich  Kind.  Chief 
contributors  :  Arthur  von  Nordstern,  Eduard  Gehe,  Von  Lichtenstein. 

SDrpIjeu^  (1824-1825),  Niirnberg.  Edited  by  Carl  Weichselbaumer. 
Chief  contributors:  Eduard  Schenk,  W.  von  Schiitz,  L.  Auerbacher, 
Max  von  Freiberg. 

SBerlimfdje  flatter  fur  beutfdje  ^rauen  (1829-1830),  Berlin.  Edited 
by  Fouque.  Chief  contributors  :  Arnim,  Fr.  Kind,  Ludwig  Robert,  Karl 
von  Holtei,  Heinrich  Schmidt. 

[216] 


SECTION   VIII 
FOLLOWERS  OF  THE  BERLIN-JENA  GROUP 

The  literary  founders  of  the  Berlin-Jena  Romantic 
School,  which  lasted  as  a  "school"  only  from  1798  to 
1 80 1,  or  1804,  were  Tieck,  Wackenroder,  Novalis  and 
the  Schlegels.  The  other  and  less  important  founders  were 
Friedrich  Ernst  Daniel  Schleiermacher  (1768-1834),  the 
preacher  and  the  author  of  "  Vertraute  Brief  e  iiber  Lucinde  " 
(1800),  "  Monologen  "  (1800),  "  Reden  iiber  die  Religion  " 
(:799)  —  ne  made  a  profound  impression  on  his  contem- 
poraries by  insisting  that  religion  is  not  solely  a  matter 
of  morality  and  metaphysics  but  of  the  soul,  a  finding  of 
the  infinite  within  us;  Caroline  Michaelis  Bohmer  Schlegel 
Schelling  (1763—1809),  who  influenced  without  writing; 
Veronika  (Brendel)  Dorothea  Mendelssohn  Veit  Schlegel 
(1763-1839),  the  mother  of  the  painter,  Philipp  Veit,  and 
the  author  of  the  fragmentary  novel  "  Florentin"  (1801); 
Friedrich  Wilhelm  Joseph  Schelling  (1775-1854),  the 
nature  philosopher,  who  is  discussed  in  Section  X  ;  Henrik 
Steffens  (1773-1845),  the  Scandinavian,  in  a  sense  the 
understudy  of  Schelling,  and  the  author  of  "  Was  ich 
erlebte"  (1844);  Lorenz  Ockenfuss  (Oken)  (1779-1851), 
the  brilliant  transcendentalist  and  naturalist,  the  scientist 
who  stood  midway  between  Fichte  and  Schelling,  the 
author  of  "  Lehrbuch  der  Naturphilosophie  "  (1811)  and 
"Lehrbuch  der  Naturgeschichte "  (1827);  Adam  Karl 

[217] 


OUTLINE  OF  GERMAN  ROMANTICISM 

August  Eschenmayer  (1768-1852),  the  distinguished  phy- 
sician, who  agreed  with  Schelling  except  as  to  our  knowledge 
of  the  absolute,  a  believer  in  animal  magnetism,  the  author 
of  "  Religionsphilosophie "  (1814);  August  Ferdinand 
Bernhardi  (1770-1820),  Tieck's  friend;  Sophie  Tieck 
(1775-1833),  Tieck's  sister  and  the  wife  of  A.  F.  Bern- 
hardi ;  Johann  Wilhelm  Ritter  (1776-1810),  the  physicist; 
August  Ludwig  Hiilsen  (1765-1810),  who  wrote,  among 
other  things,  an  article  for  the  Athendum  entitled  liber 
bte  naturltrfje  ®Ietd)f)eit  ber  Sftenfcfjen. 

Aside  from  these  founders  of  the  old  school  there  were 
a  number  of  distinguished  men  and  women  who  had  an 
enormous  influence  on  the  movement  and  were  in  turn 
influenced  by  it  without  ever  becoming  an  integral  part  of 
it.  Of  these  the  most  important  were  Friedrich  Wilhelm 
Christian  Karl  Ferdinand  von  Humboldt  (1767-1835), 
linguist,  statesman,  minister  of  education,  public-spirited 
citizen,  author  of  "  Uber  die  Kawisprache  auf  der  Insel 
Jawa  "  (1840),  the  introduction  to  which,  on  the  difference 
in  the  construction  of  language  and  its  influence  on  the 
intellectual  development  of  the  human  race,  has  been  pub- 
lished separately  ;  Friedrich  Wilhelm  Heinrich  Alexander 
von  Humboldt  (1769—1859),  younger  and  more  famous  than 
his  brother,  the  greatest  natural  scientist  of  all  times,  a  man 
of  tremendous  intellect,  the  author  of  "  Kosmos"  (1858) ; 
Abraham  Gottlob  Werner  (1750-1817),  the  founder  of 
scientific  geology,  the  propounder  of  the  Neptunian  theory, 
the  teacher  of  Novalis  at  Freiberg,  the  author  of  "  Neue 
Theorie  uber  die  Entstehung  der  Gange  "(1791);  Friedrich 
von  Gentz  (1764-1832),  a  publicist  of  repute,  a  man  of 
brilliant  if  dissipated  talents,  a  man  who  advised  kings  and 

[218] 


FOLLOWERS  OF  THE  BERLIN-JENA  GROUP 

always  won  the  favor  of  royalty,  the  author  of  "  Fragmente 
aus  der  neuesten  Geschichte  des  politischen  Gleichge- 
wichts  "  (1804)  and  "Maria  Stuart";  Johann  Friedrich 
Reichardt  (1752-1814),  one  of  the  most  interesting  men 
of  his  time,  a  musician  of  some  importance,  a  man  who 
did  much  to  bring  the  Romanticists  together  by  frequent 
entertainments  in  a  social  way,  now  known  only  by  his 
musical  compositions ;  Karl  Wilhelm  Ferdinand  Solger 
(1780-1819),  the  aesthetician  of  the  movement,  the  author 
of  "Vorlesungen  iiber  die  Asthetik"  (1811)  and  "Erwin" 
(1815). 

And  of  the  women,  there  were  Dorothea  Tieck  (1799- 
1841),  Tieck's  gifted  daughter,  who  did  much  of  the  trans- 
lation that  has  been  published  under  his  name  ;  Henriette 
Herz  (i  764-1 847),  the  friend  of  Schleiermacher  and  Borne, 
the  woman  who  presided  over  one  of  the  most  brilliant 
salons  of  Berlin  in  the  days  of  Romanticism  ;  Rahel  Antonie 
Friederike  Robert  Levin  von  Ense,  the  gifted  wife  of 
Varnhagen  von  Ense,  in  some  ways  the  original  woman 
suffragist,  a  woman  who  lived  Romanticism. 


[219] 


SECTION   IX 
FOLLOWERS  OF  THE  HEIDELBERG  GROUP 

That  the  Romantic  movement  in  Germany  was  vastly 
more  than  a  literary  affair  is  better  shown  by  the  long  list 
of  distinguished  names  associated  more  or  less  directly  with 
the  Heidelberg  group  and  the  side  lights  than  by  those 
connected  with  the  Berlin-Jena  group.  Of  these  the  most 
important  were  Jakob  Ludwig  Karl  Grimm  (1785-1863), 
philologist,  mythologist,  disciple  of  Savigny,  founder  of 
scientific  Germanic  philology,  author  of  Grimm's  law  per- 
taining to  the  relative  correspondence  of  consonants ;  he 
wrote  "  Uber  den  altdeutschen  Meistergesang  "  (1811), 
"Deutsche  Grammatik"  (1822),  still  the  fundamental  work 
in  Germanic  philology,  "Deutsche  Mythologie"  (1835), 
"Geschichte  derdeutschen  Sprache"  (1848),  and  began  the 
famous  u  Grimms  Worterbuch"  in  1854,  a  work  which  he 
thought  could  be  finished  during  his  lifetime,  but  which 
is  still  unfinished;  Karl  Wilhelm  Grimm  (1786-1859), 
the  less  distinguished  but  more  poetic  brother,  author  of 
"Altdanische  Heldenlieder  "  (1813),  "Deutsche  Helden- 
sage "  (1829);  the  Grimms  also  collected,  edited  and 
published  the  famous  ' ' JCinder-  und  Hausmarchen  "(1812- 
15),  next  to  "  Des  Knaben  Wunderhorn  "  one  of  the  most 
important  achievements  of  German  Romanticism  ;  Johann 
Joseph  von  Gorres  (1776-1848),  professor  at  Heidelberg, 
first  to  lecture  in  Germany  on  Asiatic  languages,  coeditor 

[  220  ] 


FOLLOWERS  OF  THE  HEIDELBERG  GROUP 

of  "  Trost  Einsamkeit,"  the  man  whom  Napoleon  called 
la  cinquieme  puissance  because  of  his  political  power,  the 
father  of  Guido  Gorres,  a  staunch  Catholic,  publisher  of 
the  "  Teutsche  Volksbiicher "  (1807),  supporter  in  his 
youth  of  French  revolutionary  principles,  editor  of  the 
Rheinischer  Merkur  (1814-16),  author  of  "  Christliche 
Mystik"  (1836-42)  and  "Athanasius"  (1837);  Georg 
Friedrich  Creuzer  (1771-1858),  philologist,  archaeologist, 
for  nearly  forty-five  years  professor  of  philology  and  ancient 
history  at  Heidelberg,  founder  of  the  philological  seminary 
at  Heidelberg  (1807),  author  of  "  Symbolik  und  Mythologie 
der  alten  Volker,  besonders  der  Griechen"  (1812),  a  work 
that  was  attacked  by  J.  H.  Voss  in  his  "  Antisymbolik  " ; 
Gotthilf  Heinrich  Schubert  (1780-1860),  naturalist  and 
mystic,  pupil  of  A.  G.  Werner,  author  of  "  Ansichten  von 
der  Nachtseite  der  Naturwissenschaf ten "  (1808),  "Symbo- 
lik desTraumes"  (1814),  "  Geschichte  der  Seele  "  (1830); 
Karl  Konrad  Friedrich  Wilhelm  Lachmann  (1793-1851), 
philologist,  critic,  expanded  the  works  of  the  Grimms, 
disinterred  Germany's  old  literature,  translated  Shake- 
speare's sonnets  (1820),  "Macbeth"  (1829),  author  of 
"  Urspriingliche  Gestalt  des  Gedichts  der  Nibelunge  Not  " 
(1816);  Adam  Heinrich  Miiller  (1779-1829),  publicist, 
Protestant  turned  Catholic  (1805),  defended  as  did  Gentz 
the  policies  of  Metternich,  associated  with  Kleist  in  Dres- 
den, student  of  political  economy  ;  Franz  Xaver  von  Baader 
(1765-1841),  philosopher,  theologian,  pupil  of  A.  G. 
Werner,  scholastic  mystic,  acquainted  with  F.  H.  Jacobi, 
studied  by  Schelling,  influenced  by  Jakob  Boehme,  Eck- 
hart,  Saint-Martin,  one  of  the  greatest  speculative  theo- 
logians of  modern  Catholicism  ;  Karl  August  Varnhagen 

[221  ] 


OUTLINE  OF  GERMAN  ROMANTICISM 

von  Ense  (1785-1858),  prose  writer,  soldier,  diplomat, 
author  of  "  Goethe  in  den  Zeugnissen  der  Mitlebenden  " 
(1824),  "  Tagebiicher ";  Sulpiz  Boisseree  (1783-1854), 
the  greater  of  the  two  brothers,  architect  and  archaeolo- 
gist, made  a  famous  collection  of  Old  German  art  now  to 
be  found  at  Miinchen  and  Niirnberg,  head,  with  his 
brother,  of  what  might  be  called  the  Koln  Romantic 
School;  Melchior  Boisseree  (1786-1851),  assisted  his 
brother  in  collecting  Old  German  art  and  discovered  the 
method  of  painting  on  glass  with  a  single  pencil ;  Franz 
Anton  Mesmer  (1733-1815),  physician,  originator  of  the 
theory  of  mesmerism  or  animal  magnetism,  author  of 
"  Sendschreiben  an  einen  auswartigen  Arzt  iiber  die 
Magnetkur  "  (1775)  ;  Friedrich  Karl  von  Savigny  (1779- 
1861),  student  of  Roman  law,  founder  of  modern  histori- 
cal jurisprudence,  author  of  "  Geschichte  des  romischen 
Rechts  im  Mittelalter"  (1815) ;  Karl  Gustav  Carus  (1789- 
1869),  physiologist,  psychologist,  first  to  lecture  on  com- 
parative anatomy,  in  sympathy  with  the  teachings  of 
Schelling,  author  of  "  Lebenserinnerungen  und  Denk- 
wiirdigkeiten "  ;  Clemens  Wenzel  Lothar  Metternich- 
Winneburg  (1773—1859),  Austrian  statesman,  diplomatist, 
one  of  the  smoothest  men  of  his  day,  the  moral,  civic, 
political  dictator  of  Germany  and  Austria  from  1815  to 
1848,  the  man  who  checked  the  progress  of  united  Ger- 
many by  years,  wrote  eight  volumes  of  memoirs  ;  Barthold 
Georg  Niebuhr  (1776-1831),  a  Dane,  professor  of  Roman 
history  at  Berlin,  the  man  who  first  favored  the  method  of 
supplying  missing  links  in  documentary  evidence  by  taking 
material  from  ballad  literature,  author  of  "  Lebensnach- 
richten"  (1838);  Friedrich  Ludwig  Georg  von  Raumer 

222 


FOLLOWERS  OF  THE  HEIDELBERG  GROUP 

(1781-1873),  teacher  and  statesman,  author  of  "Geschichte 
der  Hohenstaufen  und  ihrer  Zeit"  (1825),  "  Die  Vereinig- 
ten  Staaten  von  Nordamerika"  (1845) ;  Friedrich  Wilhelm 
Carove"  (1789—1852),  philosopher,  publicist,  one  of  the 
founders  of  the  SBurfdjenfrfjaft,  author  of  tracts  on  religious 
subjects  from  the  Catholic  point  of  view ;  Otto  Heinrich, 
Graf  von  Loeben  (1786-1825),  visionary,  author  of  "  Blat- 
ter aus  dem  Reisebiichlein  eines  andachtigen  Pilgers" 
(1808)  and  many  briefer  works  ;  Raimund  Pissin's  "Otto 
Heinrich,  Graf  von  Loeben  (Isidorus  Orientalis).  Sein 
Leben  und  seine  Werke,"  Berlin,  1905,  325  pp.,  is  an 
excellent  treatise ;  though  an  unpretentious  poet,  Loeben 
was  a  journalist  of  importance  and  his  relation  to  Romanti- 
cism was  intimate  and  influential ;  Caroline  von  Giinderode 
(1780-1806),  took  her  own  life  in  1806  because  of  an 
unhappy  love  affair  with  G.  F.  Creuzer,  wrote,  under  the 
pseudonym  Tian,  "  Gedichte  und  Phantasien"  (1804), 
"  Poetische  Fragmente"  (1805). 


[223] 


SECTION  X 
THE  PHILOSOPHERS 

There  is  no  doubt  but  that  the  nineteenth  century  began 
philosophically.  It  is  equally  certain  that  during  the  entire 
period  of  systematic  Romanticism  philosophy  was,  in  a 
double  sense,  in  the  air.  When  Bulwer-Lytton  referred  to 
the  German  people  as  a  nation  of  thinkers,  he  unquestion- 
ably had  this  period  in  mind.  Modern  philosophy,  whether 
we  date  it  irom  Descartes  (1596-1650)  or  Spinoza  (1632- 
1677),  is  fundamentally  nature  philosophy.  That  is  to  say, 
modern  philosophy  has  attempted  a  mathematical  explana- 
tion of  the  external  world ;  it  has  asked  a  great  number  of 
r  questions  about  the  interrelations  of  men  and  animals  and 
plants.  Each  philosopher  has  answered  the  questions  as 
he  saw  the  light,  and  each  has  seen  the  light  reflected 
at  a  different  angle.  And  finally,  it  is  certain  that  Kant 
was  the  controlling  figure  in  modern  philosophy  at  the  be- 
ginning of  the  century  as  he  was  at  the  close,  and  Kant 
unromantic. 

There  are  consequently  a  number  of  reasons  why  it  is 
fatally  easy  for  the  master  of  Romanticism  to  impress  his 
disciples  too  strongly  with  the  importance  of  contemporane- 
ous philosophy.  In  the  first  place,  with  a  few  exceptions  — 
Novalis,  Fr.  Schlegel,  Kleist,  Holderlin — the  main  poets  of 
Romanticism  were  not  nearly  so  philosophically  inclined 
and  trained  as  we  are  at  first  blush  apt  to  believe.  Brentano 

[224] 


THE  PHILOSOPHERS 

left  the  room  when  anyone  began  to  discuss  "  adversity's 
sweet  milk,  philosophy."  Heine,  though  he  wrote  a  sort 
of  book  on  Romantic  philosophy,  and  Hoffmann  sought 
neither  long  nor  successfully  after  the  unattainable  stone. 
Tieck,  ber  Stonig  bcr  SHomanttf,  to  quote  Hebbel,  had 
assimilated  and  unconsciously  formulated  his  romantic- 
philosophic  view  of  nature  before  he  knew  Schelling. 
Arnim  and  Chamisso,  to  judge  from  their  poetic  commit- 
ments, looked,  with  Goldsmith,  on  philosophy  as  a  "  good 
horse  in  the  stable,  but  an  arrant  jade  on  a  journey."  There 
is  no  systematic  philosophy  in  the  poems  of  Eichendorff  or 
Wilhelm  Miiller  or  Morike.  "Undine,"  "  Taugenichts," 
"  Schlemihl,"  all  the  purple  patches  of  Romanticism  are 
unphilosophic.  The  theory  of  Romanticism  "^«  more  or 
less  tinged  with  philosophy,  the  practice  was  devoid  of  it. 

And  again,  German  philosophy  is  exceedingly  difficult. 
The  student  of  literature  who  can  read  and  grasp  Kant's 
transcendental  idealism,  or  Fichte's  science  of  knowledge, 
or  Hegel's  phenomenology  of  intellect,  is  already  such  a 
master  of  discussion  that  he  should  change  his  major  sub- 
ject from  letters  to  metaphysics.  If  there  is  any  one  place 
where  students  of  literature  can  be  strongly  advised  to  read 
about  the  subject  rather  than  the  subject  itself,  it  is  in  con- 
nection with  German  philosophy.  He  will  get  more  out  of 
Hoffding  than  he  will  out  of  Hegel. 

And  finally,  without  being  paradoxical  while  seeming  so, 
that  is  a  wise  man,  who,  in  his  study  of  German  Romanti- 
cism, can  fly  into  the  face  of  the  relativity  of  all  things  and 
determine  with  race-track  accuracy  just  where  philosophy 
stops  and  literature  begins,  or  the  other  way  around.  What 
is  philosophy  anyhow  ?  Is  it  anything  more  than  unartistic, 

[225] 


OUTLINE  OF  GERMAN  ROMANTICISM 

unfinished  "  literature  "  ?  Is  it  anything  more  than  a  visu- 
alization and  reflection  of  life  with  the  "  faithful "  and 
"artistic"  elements  left  out?  The  line  between  Romantic 
poetry  and  Romantic  philosophy  is  an  imaginary  one,  de- 
termined by  taste  and  intellectual  temperament,  —  some 
people  look  upon  ^eltanfcrjauung  as  $prjtlojopf)te,  though 
there  is  a  wide  difference,  —  varying  with  different  indi- 
viduals and  different  in  succeeding  decades.  And  where 
the  student,  after  time-consuming  search,  finds  a  similarity 
between  the  effusions  of  the  wise  and  those  of  the  fanciful, 
he  will  do  better  to  assimilate  the  latter  than  to  annotate 
and  correlate  the  former.  He  will  do  best  to  follow  with 
cautious  hesitation  and  mental  reservation  the  lead  of 
Lander's  "  Dying  Old  Philosopher,"  who  departed  from 
this  life  with  these  words  : 

"  I  strove  with  none,  for  none  was  worth  my  strife ; 

Nature  I  loved ;  and,  next  to  Nature,  Art. 
I  warmed  both  hands  against  the  fire  of  life ; 
It  sinks,  and  I  am  ready  to  depart" 

The  following  are  the  Romantic  philosophers,  arranged 
in  order  of  birth.  The  list  embraces  a  century  of  philoso- 
phy, starting  with  Kant,  who  was  not  Romantic,  and  closing 
with  Strauss,  who  belonged  to  a  new  age. 

Immanuel  Kant  (1724-1804),  Germany's  first  great,  and 
greatest,  philosopher,  was  the  Imperator  of  the  Romantic 
movement.  His  most  active  and  immediate  opponents  were 
Hamann,  Herder,  F.  H.  Jacobi  and  S.  Maimon.  It  was 
he  who  first  gave  dignity  to  the  term  "  philosopher."  Six 
large  influences  converged  in  Kant's  day  :  ( i )  Pietism, 
(2)  Sentimentalism,  (3)  empirical  psychology  of  Locke, 

[226] 


THE  PHILOSOPHERS 

(4)  Rationalism  of  Leibnitz-Wolff,  (5)  Newton's  rigorism, 
(6)  Romantic  subjectivity  and  intuition.  From  Kant  on, 
even  before,  German  philosophy  has  been  scholastic,  mystic, 
cosmic.  In  his  two  main  "Critiques,"  Kant  tried  (1781) 
to  establish  the  province  of  certain  human  knowledge,  and 
to  prove  (1788)  that  the  ideas  of  God,  human  liberty  and 
immortality  are  postulates  of  practical  reason.  He  is  best 
known  for  his  formulation  of  the  "  categorical  imperative." 
One  of  his  best  known  remarks  is  :  3njei  2>inge  erfiiflen  bas 
®enutt  nut  immg;  neucr  unb  aunefjmenber  23ettwnberung  unb 
Gfyrf urrfjt :  S)er  befttrnte  ^tmmel  i'tber  mtr  unb  ba3  morale 
fcf)e  ®e)"etj  in  mir.  Herder  said  of  Kant :  $etne  $abale,  !etne 
(£efte,  fein  SBorurtett,  tein  9?amensef)rgei§  fyatte  je  fiir  tfjn  ben 
mtnbeften  9?et5  gegen  bte  Sttuetterung  unb  2luff)ellung  bcr 
SSafyrhett.  His  influence  was  greatest  on  Schiller  and  Kleist. 
Johann  Gottlieb  Fichte  (1762-1814)  was  the  moralist 
of  the  movement.  Influenced,  it  might  be  said,  personally 
by  Lessing,  Rousseau,  Pestalozzi,  the  Romantic  writers 
and  his  wife,  Johanna  Rahn,  he  derived  his  philosophical 
stimulus  from  Spinoza  and  Kant.  His  philosophy  has  been 
described  as  "  Spinoza  in  terms  of  Kant."  That  he  made 
the  ego  the  centre  of  all  was  pleasing  to  the  Romantic 
writers  ;  that  he  barred  nature  from  his  system  was  equally 
displeasing  to  them,  Holderlin,  in  "  Empedokles,"  even 
going  so  far  as  to  make  defection  from  nature  a  tragic 
theme.  Fichte's  call  to  duty,  his  statement  that  there  can 
be  no  reality  independent  of  us,  that  the  morally  free  ego 
is  the  central  principle  of  life,  appealed  not  only  to  the 
mystic  but  also  to  the  humanitarian  side  of  the  German 
people  of  that  time.  It  encouraged  them  to  be  told  that 
their  environment  was  only  apparently  an  independent 

[227] 


OUTLINE  OF  GERMAN  ROMANTICISM 

existence  beyond  their  control,  that  it  was  not  static,  that 
they  could  rethink  it  and  make  it  dynamic. 

Friedrich  Ernst  Daniel  Schleiermacher  (1768-1834) 
was  the  preacher  of  the  movement  and  not  a  systematic 
philosopher  at  all.  His  influence  was  greatest  on  Fr. 
Schlegel.  He  attacked  most  effectively  the  Rationalism 
that  had  supplanted  religion,  and  pointed  out  that  religion 
was  not  a  matter  of  precept,  morality,  law,  intellectuality, 
command,  but  a  seeing,  feeling  and  perceiving  of  the  in- 
finite in  one's  soul.  Aside  from  his  translation  of  Plato, 
Germany  owes  him  much  for  what  he  did  to  inspire  the 
people  after  Prussia's  collapse  ;  the  religious  awakening  at 
the  beginning  of  the  nineteenth  century  goes  back  to  his 
preaching,  and  Protestant  theology  rests  on  his  teaching. 

Georg  Wilhelm  Friedrich  Hegel  (1770-1831)  was  the 
systematizer  of  the  movement.  His  erudition,  his  inter- 
pretation of  facts,  the  at  least  apparent  orthodoxy  of  his 
philosophy,  and  his  application  of  Kant's  doctrine  to  evo- 
lution make  him  the  representative  of  Kant  to-day.  He 
really  comes  after  Schelling,  uniting,  as  he  did,  Fichte's 
subjective  idealism  with  Schelling's  objective  idealism  and 
forming  a  system  of  absolute  idealism.  One  of  the  most 
fruitful  thinkers  that  ever  lived,  he  tried  to  explain,  in  a 
comprehensive  philosophic  system,  the  interrelation  and 
irreparable  continuity  of  the  entire  world  in  all  of  its 
phenomena,  religion,  art  and  politics  included,  by  declaring 
all  of  these  phenomena  to  be  nothing  more  nor  less  than 
the  revelations  of  one  absolute  spirit.  He  was  not  exactly 
a  Romantic  philosopher,  and  yet  his  energetic  opposition  to 
superficial  Rationalism,  the  inspiration  he  drew  from  reli- 
gion, and  the  poetic,  mystic  strain  in  his  very  intellectual 

[228] 


THE  PHILOSOPHERS 

make-up  —  all  these  are  Romantic.  He  influenced  Holder- 
lin,  and  Goethe  bowed  before  him.  He  made  consistent  use 
of  the  theory  of  thesis,  antithesis,  synthesis.  His  philos- 
ophy was  neither  Mysticism  nor  Realism,  but  Idealism. 

Friedrich  Wilhelm  Schelling  (1775-1854)  was  the 
mystic  nature-philosopher,  the  philosopher  of  the  move- 
ment. With  Fichte  and  Hegel  he  forms  the  inseparable 
triumvirate.  Schelling  was  a  sort  of  very  modern  Spinoza, 
and,  somewhat  like  Kant,  he  believed  all  nature  to  be  dy- 
namic, matter  lowest,  then  vegetable  higher,  animal  high- 
est; at  least  nothing  is  dead.  His  theory  that  neither  Mind 
nor  Nature  is  absolute,  but  that  the  former  is  invisible 
nature  and  the  latter  visible  mind,  found  many  poetizations 
by  the  Romantic  writers.  He  came  at  an  opportune  time, 
just  when  vitalism  was  taking  the  place  of  mathematics, 
when  Spinoza  was  supplanting  Galileo.  Schelling  stated 
in  philosophy  what  Goethe  stated  in  poetry.  He  was  also  a 
poet  of  some  merit,  though  he  did  not  write,  as  was  be- 
lieved until  quite  recently,  that  peculiar  novel  "  Nacht- 
wachen.  Von  Bonaventura,"  this  having  been  written  by 
F.  G.  Wetzel  (1779-1819),  a  friend  of  G.  H.  Schubert 
and  his  circle  of  Romantic  occultists.  His  two  best  known 
works  are  "  Die  letzten  Worte  des  Pfarrers  zu  Drottning 
auf  Seeland  "  (1802),  the  theme  of  which  he  owed  to  his 
friend  and  understudy,  Steffens,  and  "  Epikurische  Glau- 
bensbekenntnis  Heinz  Widerporstens,"  in  doggerel,  after 
the  manner  of  Hans  Sachs  and  Goethe.  It  shows,  among 
other  things,  the  poet-philosopher's  attitude  toward  nature. 

Jakob  Friedrich  Fries  (1773-1843)  was  the  psycholo- 
gist of  the  movement,  Johann  Friedrich  Herbart  (1776- 
1841)  its  realist.  The  influences  on  Herbart  were  Kant  and 

[229] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Leibnitz  and  negatively  the  Idealists.  He  claimed  to  have 
disclosed  the  psychological  grounds  of  the  Kantian  doc- 
trine. Arthur  Schopenhauer  (1788-1860)  was  its  intui- 
tionist.  While  Herbart  was  a  Realist,  Schopenhauer  was 
a  Mystic,  yet  both  their  theories  had  the  same  source. 
Schopenhauer  was  to  Idealism  what  Mephistopheles  was 
to  Faust  —  he  turned  Romanticism  into  pessimism.  A 
number  of  his  shorter  essays,  by  reason  of  their  attractive 
style  and  even  more  attractive  contents,  can  be  classed  as 
real  literature.  Friedrich  Eduard  Beneke  (1798-1854)  was 
its  empiricist,  Ludwig  Andreas  Feuerbach  (1804-1872)  its 
religionist.  Feuerbach  was  more  radical  than  Strauss,  since 
he  was  a  philosopher,  not  simply  a  theologian.  He  brought 
anthropology  into  theology,  asserting  that  the  essential 
nature  of  all  gods  is  human  nature — they  are  simply  the  pro- 
jection of  the  best  in  us.  God  did  not  create  man  after  His 
own  image,  but  man  made  God  after  his  own  image.  And 
David  Friedrich  Strauss  (1808-1874)  was  the  theologian  of 
the  movement.  His  book  on  the  life  of  Christ  called  forth  a 
controversy  such  as  a  nation  witnesses  only  at  long  intervals. 
These  are  the  eleven  main  philosophers  of  German 
Romanticism.  Of  these,  Fichte  and  Schelling  and  Hegel 
are  by  all  odds  the  most  important.  In  the  study  of  litera- 
ture, one  should  remember  Fr.  Riickert's  lines  from  "  Die 
Weisheit  des  Brahmanen  "  : 

S)u  benleft,  tt>a§  bu  benfft,  ba§  miiffe  brunt  fo  fein  ; 

benfe  :  Senfeft  bu  benn  auf  ber  SSelt  altein  ? 
anbre  benfen  audf),  bid  anbres>  benfcn  fie, 
$)od)  anber§  tmrb  ba§  (Sent  burcf)  anbcr§  3)enlen  nie. 
tafjt  fid)  fo  unb  fo  bon  unferm  S)enfen  faff  en, 
SBletbt  tt>a§  e§  ift,  unb  fte'fjt  bent  ©ptele  §u  gelaffen. 

[230] 


THE  PHILOSOPHERS 

GENERAL    TREATISES 

The  Spirit  of  Modern  Philosophy.  By  Josiah  Royce,  Boston  and 
New  York,  1892.  519  pp.  Read  especially  chapter  vi,  "The  Roman- 
tic School  of  Philosophy,"  pages  164  to  189.  Possibly  the  very  best 
place  to  get  a  succinct  idea  of  the  subject. 

A  History  of  Modern  Philosophy.  By  Harald  Hoffding,  London, 
1900.  Volume  II,  600  pp.  Translated  by  B.  E.  Meyer.  Read  especially 
Book  VIII,  "The  Philosophy  of  Romanticism,"  pages  139  to  289. 

History  of  Modern  Philosophy.  By  Richard  Falckenberg,  New  York, 
1897  (2d  edition).  655  pp.  Translated  by  A.  C.  Armstrong.  Read 
especially  chapters  x  to  xiv,  pages  419  to  547. 

A  History  of  Philosophy.  By  Wilhelm  Windelband,  New  York, 
1898.  659  pp.  Translated  by  James  H.  Tufts.  Read  especially  Part  VI, 
pages  529  to  622. 

The  Persistent  Problems  of  Philosophy.  By  Mary  Whiton  Calkins, 
New  York,  1908  (2d  edition),  575  pp.  Read  especially  chapters  ix  and 
x,  pages  307  to  394. 

A  Beginners'  History  of  Philosophy.  By  Herbert  Ernest  Cushman, 
Boston,  1911.  Volume  II,  377  pp.  Read  especially  chapters  xi  and  xii, 
pages  278  to  351. 

3)ie  ${)tlofopb,te  im  beutftfjen  ©eifteSleben  be3  19.  3<*()ri)Uttbert§.  By 
Wilhelm  Windelband,  Tiibingen,  1909.  120  pp. 

READING    LIST 
Kant 

1766.  £rtiume  etneS  ©eifterfe&erS,  ertautert  burdE)  £raume  ber  2JZeta= 
pljnftf,  49  pp. 

1781.  $rttif  ber  reinen  SBernunft,  252  pp. 

1788.  $rittf  ber  prafttfdjen  SSernunft,  163  pp. 

1790.  Kritif  ber  UrtfjeilSfraft,  322  pp. 
Fichte 

1792.  33erjurf)  einer  £ritif  aller  Dffenbarung,  182  pp. 

1 794.  ©intge  33orlefungen  iiber  bie  Seftimmung  beg  ©elefjrten,  338  pp. 

1794.  ©runblage  ber  gefamtnten  2Btfjenfd)aft<j[ef)re,  108  pp. 

1800.  &ie  SBefttmmung  be3  SJienfdjen,  338  pp. 

1801.  griebrid)  9Mcolai3  Seben  unb  fonberbare  3Heinungen,  130  pp. 

(Not  philosophy,  but  valuable.) 

1806.  2)te  ©runbjiige  be^  gegenttwrttgen  3eitalter§,  563  pp. 

1808.   Keben  an  bie  beutfdie  Nation,  268  pp.   Edited  with  introduc- 
tion by  Rudolf  Eucken,  1909. 

[231  ] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Schleiermacher 

1 799.  liber  bie  Religion ;  3teben  an  bie  ©ebilbeten  unter  ifjren  2?erdc^= 

tern,  228  pp. 

1800.  SRonologen,  100  pp. 

1800.  SSertraute  33riefe  iiber  bie  Sucinbe,  128  pp. 

Hegel 

1807.  ^plja'nomenologie  be3  ©eifteS,  823  pp. 

1812.  2Bifjenfd)aft  ber  Sogif,  1030  pp. 

Schelling 

1 799.  (Srfter  ©ntnwrf  eineg  ©tjftem^  ber  3taturp^tlojopf)te,  269  pp. 

1800.  ©tjftem  be§  tranfcenbentalen  ^bealigmug,  308  pp. 

Fries 

1807.  j$idjte3  unb  @d)elling§  neuefte  Sefjren  oon  ©ott  unb  ber  SBelt, 

80  pp. 
1811.  ©nftem  ber  Sogif,  596  pp. 

1813.  ©ntnntrf  beg  @i)ftemg  ber  t^eoretifd^en  ^S^fif,  138  pp. 

Herbart 

1808.  2lQgemeine  pralttjcfie  ^B^iloyop^ie,  430  pp. 

Schopenhauer 

1819.  S5ie  3Belt  alg  SBtUe  unb  Sorftellung,  487  PP- 
Beneke 

1832.  $ant  unb  bie  pln'lofopf)tfd)e  Slufgabe  ttnferer  3eit,  104  pp. 

1853.  Sefjrbud)  ber  pragtnatifd^en  ^frjcfyologie,  180  pp. 

Feuerbach 

1841.  3)a§  3Befen  beg  E^riftentumg,  4?5  PP- 
Strauss 

1835.  2)ag  Seben  Sefu,  633  pp. 


[232] 


SECTION  XI 

THE  MUSICIANS 

The  services  of  Romanticism  have  proved  greater  than 
its  creations ;  it  was  more  suggestive  than  productive. 
Its  immediate  harvest  was,  in  proportion  to  the  labor 
expended,  not  large,  but  amply  large  for  fertile  seed. 
Others  have  reaped  where  the  Romanticists  sowed.  From 
the  aftermath  there  sprang  a  new  conception  and  apprecia- 
tion not  simply  of  religion  and  of  nature  and  of  patriotism, 
but  also  of  music.  The  new  musicians  were  born  after  the 
poets  —  just  as  the  Italian  sonata  came  after  the  sonetto. 
There  were,  of  course,  German  musicians  that  preceded 
those  whom  we  call  the  Romanticists,  just  as  there  were 
poets  that  preceded  Tieck  and  Novalis  and  their  congenial 
brothers  in  Apollo.  There  was,  for  example,  Johann  Rudolf 
Zumsteeg  (1760-1802),  Schiller's  fellow-student  at  Stutt- 
gart, who  wrote  such  ©ingfptelc  as  "  Die  Geisterinsel  "  and 
who  set  to  music  the  songs  and  ballads  of  Goethe  and 
Schiller,  and  Burger's  "  Lenore,"  thus  anticipating  Schu- 
bert and  Lowe.  There  was  Mozart  (1756-1791),  who 
bears  somewhat  the  same  relation  to  Romantic  music  that 
Wieland  bears  to  Romantic  literature.  And  there  was 
Beethoven  (1770-1827),  the  Goethe  of  music,  beginning 
the  new  century  with  his  first  symphony.  But  to  reckon 
these  and  others  of  their  time  among  the  Romantic  com- 
posers would  be  to  disregard  conventional  and  convenient 

[233] 


OUTLINE  OF  GERMAN  ROMANTICISM 

limits  and  to  set  awry  all  conception  of  Romantic  solidarity. 
They  indubitably  inspired  some  of  the  statements  of  the 
Romanticists  about  music,  but  the  really  Romantic  com- 
posers were  to  come  later. 

There  was  a  musical  leaning  and  approach,  however, 
long  before  the  composers  began  to  write  music  —  the 
most  Romantic  of  all  the  arts.  Jean  Paul  tried  to  explain 
the  essence  of  Romanticism  from  music  by  saying :  (£§ 
[ba<§  SSefen]  ift  nod)  tifynlidjer  al3  cm  @(etd)nt«§,  vocnrt  man 
ba3  SRomanttfdje  ba<§  toogenbc  &u$fummen  ctner.  ©aite  ober 
©locfe  nennt,  in  ttietdjcm  bie  £onn?oge  lute  in  immer  fernercn 
SSeitcn  ucrfdjtmmmt  unb  enbltd)  [id;  Dcrltcrt  in  un<§  fclbcr  nnb, 
obluotjt  aujjcn  fdjon  fttff,  nod)  innen  lautct.  In  his  comedy 
"  Die  verkehrte  Welt,"  Tieck  tried  to  compose  a  symphony 
in  words.  Friedrich  Schlegel  said  :  Surd)  afle  Stone  tonct 
im  bnnten  (Srbentraumc  etn  tei[er  Xon,  gegogen  fi'tr  ben,  ber 
heimttd)  laufdjet.  Friedrich  Schlegel  and  others  spoke  of 
architecture  as  frozen  music,  to  Novalis  all  science  was 
based  on  rhythm,  Eichendorff  spoke  of  the  song  that 
slumbers  in  all  things  and  only  needs  to  be  awakened, 
and  E.  T.  A.  Hoffmann's  commitments  on  music  are  so 
numerous  as  to  forbid  choice. 

And  then  came  the  Romantic  composers.  To  point  out 
the  essential  differences  between  their  musical  technique 
and  that  of  their  predecessors,  between  that  of  J.  S.  Bach 
and  that  of  Schubert,  for  example,  is  in  no  wise  either  the 
purpose  or  the  duty  of  this  section  of  the  outline,  though 
there  were  differences,  all  of  which  are  carefully  and  fully 
attended  to  in  the  appended  bibliography.  And  the  Roman- 
tic men  of  letters  as  composers,  or  the  Romantic  composers 
as  men  of  letters,  can  be  dismissed  in  a  single  sentence : 

[234] 


THE  MUSICIANS 

E.  T.  A.  Hoffmann  composed  a  good  deal  of  music,  and 
Weber  and  Schumann  wrote  some  "literature."  But  all 
the  musicians  drew  first  and  foremost  on  the  literature 
of  Romanticism  for  thematic  suggestion  and  inspiration. 
And  in  so  doing  they  did  two  things  that  make  them  stand 
apart  from  those  who  had  gone  before  :  Weber  and  others 
established  the  German  Cper,  Schubert  and  others  estab- 
lished the  German  Steb,  a  twofold  accomplishment  that 
constitutes  one  of  the  brightest  chapters  in  the  history  of 
Romanticism,  a  twofold  achievement  that  makes  the  com- 
plete disappearance  of  Romanticism  an  impossibility  and 
an  inconceivability.  Romantic  poetry  will  survive  so  long 
as  men  and  the  children  of  men  continue  to  sing  and  to 
love  song.  And  men  will  forsake  song  only  when  verse 
has  lost  its  rhythm,  the  sea  its  tide,  and  the  spheres  their 
harmony. 

Convention  and  tradition,  safe  guides  in  this  matter, 
have  set  aside  twelve  men  as  the  Romantic  composers. 
Of  these,  Kreutzer,  Spohr,  Silcher,  Marschner,  Nicolai 
and  Lortzing  are  the  less  important  half,  though  no  lover 
of  music  would  like  to  be  without  them.  Weber,  Lowe, 
Schubert,  Schumann,  Mendelssohn  and  Franz  are  the 
more  important  half ;  no  lover  of  music  could  be  without 
them.  Richard  Wagner  is  not  included.  To  include  him 
would  be  like  trying  to  include  Grillparzer  among  the 
Romantic  men  of  letters.  For  this  each  was  too  great, 
each  went  too  nearly  his  own  way,  each  reminds  one  too 
much  of  Classicism.  Yet  Wagner  had  many  things  in 
common  with  the  Romanticists.  His  themes,  with  the 
single  exception  of  "  Rienzi,"  reecho  the  Middle  Ages. 
His  connection  with  the  Schlegels,  Novalis,  Tieck  and 

[235] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Hoffmann  needs  no  accentuation.  His  moods  of  exalta- 
tion, during  which  he  created,  and  his  moods  of  depres- 
sion, during  which  he  could  do  nothing,  remind  one  of 
Tieck,  indeed  of  any  Romanticist.  But  he  was  not  a 
Romanticist  —  if  for  no  other  reason,  because  he  lived  for 
the  future  ;  there  was  no  attempt  at  the  revivification  of  a 
Golden  Age  about  either  him  or  his  works.  He  lacked 
irony  too,  just  as  he  was  no  friend  of  vague  speculation, 
or  diffusive  digression,  or  formless  architecture.  Even  in 
his  "Tannhauser"  there  is  something  rigidly  clear  that 
does  not  resemble  Novalis'  "  Ofterdingen,"  just  as  there 
is  something  logically  concise  in  his  "  Parsifal "  that 
bears  but  little  similarity  to  Wolfram's  epic  breadth  and 
opaque  wording.  One  thing,  however,  should  not  be 
forgotten  :  Wagner  was  the  product,  the  result  of  German 
Romanticism. 

And  of  the  Romantic  composers  again,  Spohr,  Marsch- 
ner,  Nicolai,  Weber  and  Lortzing  are  well  known  for 
their  dramatic  compositions,  the  others  for  their  lyric  ones. 
Silcher,  except  for  his  popularization  of  Heine's  "  Lorelei," 
is  of  subordinate  merit.  The  lyric  compositions  are  of 
greatest  importance  in  the  literary  study  of  Romanticism, 
not  only  because  so  much  more  was  done  along  this  line 
but  also  because  of  its  eminent  superiority.  Just  as  a 
drama  is  written  for  the  stage,  so  is  a  real  lyric  written 
for  the  lyre,  in  a  sense  the  first  of  all  musical  instruments. 
Schubert  alone  set  to  music  about  six  hundred  different 
songs  written  by  eighty-five  different  poets.  Lowe  was  the 
master  of  the  ballad.  Weber  composed  about  one  hundred 
songs;  Marschner,  though  we  think  of  him  primarily  in 
connection  with  the  opera,  about  three  hundred ;  Schumann, 

[236] 


THE  MUSICIANS 

one  hundred  and  thirty-eight  in  the  year  1 840  alone ;  Spohr, 
about  one  hundred  and  fifty  all  told.  Such  figures  show 
that  the  student  of  Romanticism  has  not  finished  his  task, 
has  not  enjoyed  his  opportunity,  until  he  has  heard  the 
poets'  words  in  their  proper  setting  and  with  their  intended 
accompaniment.  Some  of  the  songs  and  operas  of  Roman- 
tic origin  follow ;  the  list  is  intended  only  as  a  series  of 
samples ;  there  would  be  no  point  in  attempting  to  make 
it  complete ;  it  contains,  however,  the  best  known.  But 
no  such  outline  would  be  piously  written  which  made  no 
mention  of  E.  T.  A.  Hoffmann's  opera  "  Undine,"  based 
on  Fouque's  story  of  like  name.  Its  present  relegation  to 
the  shelves  of  the  antiquarian  forbids,  unfortunately,  its 
inclusion  in  the  appended  list. 

BIBLIOGRAPHY 

The  History  of  Music.  By  Waldo  Selden  Pratt,  New  York,  1911 
(fourth  edition).  683  pages.  Read  pages  41 1  to  598.  An  excellent  work, 
containing  brief  biographical  sketches  of  the  many  composers,  directors 
and  performers,  an  account  of  the  mechanical  development  of  musical 
instruments,  a  discussion  of  the  various  musical  forms,  and  an  analysis  of 
the  various  musical  tendencies  from  the  earliest  times  to  the  present. 

The  Study  of  the  History  of  Music.  By  Edward  Dickinson,  New 
York,  1906.  409  pages.  Read  pages  185  to  242. 

Pronouncing  Dictionary  of  Musical  Terms.  By  H.  A.  Clarke,  Phila- 
delphia, 1896.  122  pages.  A  good  manual  for  the  lay  student.  Contains 
descriptive  analyses  of  all  musical  terms  as  well  as  brief  data  of  practi- 
cally all  musicians.  Very  cheap. 

The  Oxford  Book  of  German  Verse.  Edited  by  H.  G.  Fiedler  with 
a  perfunctory  introduction  by  Gerhart  Hauptmann,  Oxford,  1911.  596 
pages.  Contains  536  poems  and  gives  the  names  of  the  most  important 
composers  in  all  cases.  Ninety-four  composers  are  listed,  aside  from 
folk  melodies. 

Beethoven  and  his  Forerunners.  By  Daniel  Gregory  Mason,  New 
York,  1904.  352  pp. 

[237] 


OUTLINE  OF  GERMAN  ROMANTICISM 

The  Romantic  Composers.    By  Daniel  Gregory  Mason,  New  York, 

353  PP- 

From  Grieg  to  Brahms.  By  Daniel  Gregory  Mason,  New  York,  1903. 
225  pp.  For  the  average  student  unacquainted  with  German  these  three 
books  are  excellent.  They  are  written  in  a  racy  style,  contain  sympa- 
thetic accounts  of  the  various  composers,  good  essays  on  music  in 
general  and  how  to  appreciate  it.  They  do  not,  however,  go  very  far 
into  the  literary  themes  on  which  the  musicians  drew. 

2)ie  SMiitejett  ber  mufifaltfrf)en  Stomantif  in  Seutfchlanb.  By  Edgar 
Istel,  Leipzig,  1909.  167  pp.  For  the  student  acquainted  with  German 
this  is  the  best  book  here  listed.  It  is  Volume  239  of  "  Aus  Natur  und 
Geisteswelt,"  and  contains  all  that  the  general  student  can  ever  need  for 
his  study  of  Romantic  literature. 

Makers  of  Music.  By  R.  Farquharson  Sharp,  New  York,  1901.  237 
pages.  Discusses  nineteen  composers,  from  J.  S.  Bach  to  Brahms,  and 
gives  brief  chronological  summaries  of  their  compositions. 

Songs  and  Song  Writers.  By  Henry  T.  Finck,  New  York,  1902  (sec- 
ond edition).  254  pages.  Read  pages  22  to  174. 

2Jhtftigefcf)icf)te  feit  S3eginn  beg  19.  Sa^r^un^ert§.  By  Karl  Grunsky, 
Leipzig,  1908.  123  pp. 

©efdjtdjte  ber  3Hitfif  feit  Seetrjooen  (1800-1900).  By  Hugo  Riemann, 
Berlin,  1901.  816  pages.  Read  pages  106  to  356.  A  depressingly 
thorough  book. 

2)as>  Dpernbucf).    By  Karl  Storck,  Stuttgart,  1913.    436  pp. 

Grove's  Dictionary  of  Music  and  Musicians.  Edited  by  J.  A.  Fuller 
Maitland,  New  York,  1910.  There  are  5  volumes,  each  consisting  of  about 
800  pages ;  the  set  is  arranged  in  alphabetical  order  and  is  therefore 
the  standard  reference  work. 

The  Oxford  History  of  Music.  Volume  VI,  "  The  Romantic  Period," 
edited  by  Edward  Dannreuther  and  W.  H.  Hadow,  Oxford,  1905.  374 
pages.  Exceedingly  valuable  for  the  Romantic  period,  for  the  special 
student. 

The  History  of  German  Song.  By  Louis  C.  Elson,  Boston,  1903. 
288  pp. 

3ur  aftetap&nftf  ber  3Jhiftf.  By  Arthur  Schopenhauer.  Pages  51 1-523 
in  the  third  volume  of  Schopenhauer's  "  Sammtliche  Werke,"  Leipzig, 
1877  (second  edition). 


[238] 


THE  MUSICIANS 

ROMANTIC    THEMES    COMPOSED 
(Composers  arranged  chronologically) 

Konradin  Kreutzer  (1780-1849) 

2)d3  9Jad)tlager  in  ©ranaba,  romantic  opera  in  -2.  acts,  after  Friedrich 

Kind's  drama  of  like  name,  libretto  by  K.  Freiherr  von  Braun. 
Incidental  music  to  Raimund's  "  Der  Verschwender." 
Set  to  music  Uhland's  Sie  $opelle;   <5djafer3  @onntag3lieb;    2)a§ 
am  2JZeer;  Ser  ©cfymieb;  2KorgenUeb  ;  ©infect;  £>eimfef)r; 

Serglieb;  greie 


Ludwig  Spohr  (1784-1859) 

3effonba,  romantic  opera  in  3  acts,  after  the  novel  "  The  Widow  of 
Malabar,"  libretto  by  Eduard  Gehe. 

Karl  Maria  von  Weber  (1786-1826) 

35et  {$fteifd)ute>  romantic  opera  in  3  acts,  libretto  by  Friedrich  Kind. 

©anj  beutjd)  unb  im  beften  ©inne  be^  9Sorteg  romantijd^. 
©ur^ant^e,   romantic   opera   in   3  acts,   libretto   by    Helmina  von 

Chezy. 
Dberon,  romantic  opera  in  3  acts,  German  libretto  by  Theodor  Hell 

(Theodor  Winkler). 

Incidental  music  to  Pius  Alexander  Wolff's  "  Preciosa." 
Set  to  music  Theodor  Korner's  2Bir  liegen  je^t  im  ©otte§I)au§; 

33ater,  id^  rufe  bid^  ;  2)ie  SBunbe  brennt.   Composed  also  music  for 

songs  by  Tieck,  Herder,  Burger  and  Voss. 

Friedrich  Silcher  (1789-1860) 

Set  to  music  Dach's  2lnnd)en  con  Xfiarau  ;  folk  song,  2Rorgen  mujj  id) 
fortnon^ter;  Chamisso'sSer  ©olbat;  Heine's  Sorelei;  Morike's 
3)ie  @olbaten6raut;  Reinick's  SBo^in  mtt  ber  $reub'. 

Heinrich  Marschner  (1795-1861) 

iQan§  Ceiling,  romantic  opera  in  3  acts,  with  a  prelude,  libretto  by 

Ph.  Ed.  Devrient. 
£er  3Sampir,  romantic  opera  in  2  acts,  libretto  by  W.  A.  Wohl- 

briick. 
2)er  templet  unb  bie  3ubin>  romantic  opera  in  3  acts,  after  Scott's 

"  Ivanhoe,"  libretto  by  W.  A.  Wohlbriick. 
Composed  music  for  songs  by  Goethe,  Heine,  Eichendorff,  Lenau, 

Bodenstedt,  Geibel,  Fallersleben,  Uhland,  W.  Miiller. 

[239] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Karl  Lowe  (1796-1869) 
Set  to  music : 
Goethe's  2fteine  Jlitf)  ift  E)in ;  SOBanbrerg  9fad»tlteb ;  £>er  $if dEjer ;  ©efang 

ber  ©eifter  iiber  ben  2Baffern;  ©rlfonig;  3)er  ©anger;  3)er  ©dE)a£= 

grciber;  3)er  gauberlefyrling ;  £ieb  beg  Siirmerg;  ©priidjje  (24); 

Set  getreue  (SdEart. 
Herder's  ©rl!bnigg  SodEjter ;  ©buarb. 
Riickert's  Kleiner  ^aug^alt;  ©ii^eg  33egrabni3;  ^inlenbe  ^amben; 

35eg  fremben  tinbeg  fjeil'ger  gfjrtft;  D  fii^e  Gutter. 
Uhland's  ©olbfdtjmieb^  ^od^terlein;  SQoralb;  ©raf  ©berftein. 
Freiligrath's  3)er  2ftob,renfiirft;    2)ie  aJio^renfiirftin ;    2)er  Slumen 

atacfye ;  ^rtnj  (Sugen,  ber  eble  3titter. 
Strachwitz's  Ser  gefangene  2lbmiral. 
Platen's  2)er  pilgrim  oor  ©t.  2>uft. 
A.  Grun's  2)ie  Seiche  ju  ©t.  S"ft;  2)ie  Skigevbeije. 
Schiller's  Ser  ©raf  non  ^abgburg. 
Uhland's  ®er  SBirtin  Soc^terlein. 
Zedlitz's  Sie  nac^tltd^e  ^eerfd^au. 
Heine's  <Qerj,  mein^erj,  jet  ntd^t  beflommen;  3)er  St^ra;  Sie  Soto§= 

blume;  2)u  jdgoneS  ^i^ermabd^en. 
(Kopisch's  £>er  3lod;  2)ie  iQeinjelmanndjen.) 
(Fontane's  2lrd^tbalb  3)ouglag.) 

Franz  Schubert  (1797-1828) 

Set  to  music  (a  selection) : 

Goethe's  @rl!onig;  2Keine  3iul)  ift  ^in;  ©d^aferg  $lagelieb;  3Keereg= 
ftille;  §etbenro^Iein;  SOBanbrer^  Sfacfjtlteb ;  SOBillfommen  itnb  2lb= 
jd^ieb ;  £>er  ^onig  in  S^ule ;  5reui>I)0U  un^  leibooH ;  2>ager3 
Slbenblieb;  3laftlofe  Siebe ;  2lnben2Ronb;  Sergifcger;  ©efang  ber 
©eifter  iiber  ben  SBafjern;  ©renjen  ber  3Jlenfd5f)eit;  ®er  ©anger; 
2Jiignon^  Sieber  (2);  Sieb  beg  Jgarfnerg;  9Ja^e  beg  ©eltebten;  2)er 
©d^a^graber. 

Schiller's  2ln  bie  ^reube;  Sag  SJJabd^en  au£  ber  grembe;  §offnung; 
©ie  ©r  roar  tun  g ;  ©efjnfucfyt;  S)er  plgrnn. 

A.  W.  Schlegel's  Ibenblieb  fiir  bie  ©ntfernte;  Sebengmelobien;  £>ie 
gefangenen  ©anger. 

Fr.  Schlegel's  S)er  ©d^metterling ;  Ser  SCanberer;  2lbenbrotf)e;  2Me 
9?ofe;  SBalbegnadgt;  ©ie  Serge;  2)er  ©Differ. 

Fouque's  Ser  ©deafer  itnb  ber  better;  ©ebet. 

Fr.  Kind's  §iinflingg  Siebegroerbung. 

[240] 


THE  MUSICIANS 

Platen's  2)ie  Siebe  f)at  gelogen. 

Th.  Korner's  Sag  roar  id);  ©ebet  rocifyrenb  ber  ©d)lad)t. 

L.  Rellstab's  2luf  bem  ©trom. 

E.  Schulze's  ©roige  Siebe;  %m  SBalbe. 

F.  L.  Stolberg's  2luf  bem  SBaffer  ju  fingen. 
C.  Pichler's  Set  Unglitdlidje. 

Riickert's  Safe  jie  bier  geroefen ;  ©reifengefang ;  Sit  bift  bie  9htlj. 

Heine's  2)u  fd)5neg  $ifd)ermabd)en ;  25a§  SJieer  erglanjte. 

W.  MUller's  2Banberfd)aft;  SBo^in;  §alt;  Ungebulb;  SWein;  $te 
^Soft ;  2)er  iiinbenbautn. 

Uhland's  j5riif)UngggIaube. 

Novalis'  SBenn  alle  untreu  roerben;  SSenn  id)  i^n  nur  ^abe. 

Composed  also  music  for  a  great  many  songs  by  poets  of  less  re- 
nown: Pyrker,  Collin,  Craigher,  Schober,  Leitner,  Bauernfeld, 
Seidl,  Mayerhofer,  and  for  a  few  by  the  greatest  of  Austrian  poets, 
Grillparzer. 

Otto  Nicolai  (1810-1849) 

25ie  luftigen  3Beiber  ju  SBinbfor,  comic-fantastic  opera  in  3  acts, 
after  Shakespeare's  drama  of  like  "name,  libretto  by  H.  S.  Mosenthal. 

Robert  Schumann  (1810-1856) 

©enODCDa,  romantic  opera  in  4  acts,  after  Hebbel's  drama  of  like 

name  more  than  after  that  of  Maler  Muller,  Raupach  or  Tieck ; 

libretto  by  Reinick,  then  revised  by  Schumann  himself. 
His  ^b/antafteftiirfe  and  ftreisleriana  are  based  on  works  by  E.  T.  A. 

Hoffmann. 

Set  to  music  (a  selection) : 
Heine's  Selfafcar ;  25ie  3tofe,  bie  Silie,  bie  £aitbe,  bie  ©onne ;  3d) 

grolle  nid)t;  Sin  3""9li«9  Hebt  ein  2Kabd)en;  3)u  bift  rote  eine 

33lume ;  (S§  tretbt  mid)  bin ;  3d)  roanbelte  unter  ben  Saumen ; 

@d)5ne  SBiege  meiner  Seiben ;  9Jtit  SJigrtb.en  unb  Stofen ;  2)ie 

blume ;  %m  rounberfdjonen  3)Jonat  2Hat ;   Slug  meinen  X 

fpriefeen;  3Benn  id)  in  beine  2lugen  feb';  Sag  ift  ein  5^ten  ""^ 

©eigen;  3d)  ^ab'  im  £raume  geroeinet;  2lQndd)tIid)  im  Jraume; 

2)ie  alien,  bofen  Sieber ;  2)ie  beiben  ©renabiere ;  S)ein  2lngefid)t ; 

3Bir  fafeen  am  $ifd)erfiaufe ;  2lit§  alien  3JJdrd)en  roinft  eg. 
Eichendorff's    2)ein    Silbnife    rounberfelig;     3}?onbnad)t;    @d)5ne 

e^reube;  3n  ber  grembe;  ^rit^linggnadjt;  28e^mut;  Sie  ©tille; 

3)er  frof)e  SBanbergmann ;  3d)  bbr'  bie  Sad)lein  raujd)en;  25er 

©tnfiebler;  SBalbgefprdd) ;  ?hif  beit  ^ob  eineg 

[241] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Chamisso's  33erratb,ene  Siebe ;  (Sett  id)  if>n  gefeljen ;  Gr,  ber  £>errlid;fte 

son  alien;  2>d)  fann'3  nid)t  fafjen,  nid)t  glauben;  2)u  Sling  an 

meinem  ginger;  ©ufeer  $reunb,  bu  blirfeft;  3tun  fyaft  bu  mtr  ben 

erften  ©corner 3  getfjan;  ®er  ©olbat. 
Goethe's  §eibenro§lein ;  £>er  $6nig  in  £b,ule;  Sfaftlofe  Siebe;  2Ban= 

brer3  9Zadjtlieb;    2)er  ©anger;   2JJignon3  Sieber  (2);   Sieb  be3 

§arfner^;  Sieb  be^  Siirmer^;  ©priicfje  (24). 
RUckert's  SBibmung;  ^agminenftravic^ ;  SBenn  id;  friif)  in  ben  ©arten 

gel)';  ©djneeglocldjen ;  Siebe^frii^ling. 
Morike's  (gr  tft'g;  2)a§  oerlajjene  3Kdgblein;   35ie  ©olbatenbraut; 

Sung  Solferg  Sieb;  @cl)on=3tol)traut. 

J.  Kerner's  SEBanberlieb;  ©tille  Siebe;  ©tille  ^fjranen ;  Sllte  Saute. 
Uhland's  3)e^  ^naben  Serglieb;  ®eg  <Sa'nger§  glud);  Ser  ©d^mieb; 

®ie  lapeUe. 

Lenau's  ©tnfamfeit;  ^ommen  unb  ©djeiben. 
Wunderhorn,  3Warienn>urmd;en. 
Folk  songs,  ©d)nitter  Sob;  9Benn  id;  ein  SOoglein  roar';  ©§  fiel  ein 

Relf. 

Gustav  Albert  Lortzing  (1803-1851) 

2)er  3Bilbfd)ii^,  ober  bte  ©timme  ber  3Jatur,  comic  opera  in  3  acts, 

after  a  comedy  by  Kotzebue,  libretto  by  Lortzing. 
llnbine,  romantic  opera  in  4  acts,  after  Fouque's  "  Undine,"  libretto 

by  Lortzing. 

Felix  Mendelssohn-Bartholdy  (1809-1847) 

Wrote  overtures  to  Shakespeare's  "  Midsummer  Night's  Dream," 

Goethe's  @rfte  3Balpurgi3nad)t,  Tieck's  2)Jelu[ine. 
Set  to  music  (a  selection): 
Eichendorff's  2lbfd)ieb;  Sie©tille;  9?ad)tlieb;  Ser  fro^e  2Banber3= 

mann;  ^Sagenlieb;  SBanberlieb ;  ©^  roeifs  unb  ratf)  eg  bod;  Reiner. 
Uhland's   ©d;aferg   ©onntag^Iieb ;  griifjlinggglaube;  2)ie  5lonne; 

§irtenlieb;  3)a§  ©tf;ifflein. 
Lenau's  ©d)ilflieb;  2luf  ber  3Banberfd;aft ;  2ln  bie  ©ntfernte;  griil)- 

Hng^lieb. 
Heine's  2luf  ben  glilgeln  be§  ©efangg;  Seife  jiefjt  burd;  mein  ©e= 

miit;  9Jeue  Siebe;   SSerluft ;  ©ruf(;  2Rorgengruf! ;  9teifelieb;  Wl* 

nad;tlid;  im  Xraume ;  2)er  ^erbftroinb  riittelt  bie  SBaume. 
Goethe's  3KeereS  ©tide;  ©uleifa  (2);  2)ie  Siebenbe  jd;reibt;  ©rfter 

Serluft. 
Geibel's  2)er  9JJonb;  2Benn  fid;  jroet  §erjen  fd;eiben. 

[242] 


THE  MUSICIANS 

Fallersleben's  Sroftung;  ©eemannS  ©djeibelieb. 

Wunderhorn,  2JUnnelieb.;  2>agblteb. 

Folk  songs,  ©djnitter  £ob;  ©3  fiel  ein  3ieif  ;  D  Sugenb;  Qcrntelieb. 

Tieck's  2Winnelieb. 

Immermann's  £obe3lieb  bet  33ojarett. 

Schiller's  2)e3  2Hcibd)en3  fllage. 

Simrock's  3Barnung  oor  bem  9tl)ein. 

Robert  Franz  (1815-1892) 

Set  to  music  (a  selection)  : 

Heine's  2lu3  meinen  grofeen  ©djmerjen;  2>m  rounberfdjonen  3JZonat 
3Kai;  D  liige  nid)t;  (Sterne  tnit  ben  golbenen  3tifs3)en;  3m 
3t^ein;  2)ie  Soto^blume;  2lm  Ieud)tenben  ©ommermorgen  ;  $riif)= 
ItngSfeier;  ©§  ragt  in§  3Keer  ber  Kunenftein;  2luf  bem  Sfleere; 
aWabdjen  ntit  bem  rotten  afliinbdjen;  2Bie  beg  2Konbeg  Slbbilb; 
3)urd)  ben  2Salb  im  2JJonbenfdjein  ;  ©in  ^^"fmwtt  fte^t  ein= 
fam;  2)a§  2Jleer  erftra^tt  im  @onnenfd;ein  ;  2Banbl'  id)  in  bem 
SBalb  beg  2lbenb3  ;  ©ie  Itebten  fid)  beibe  ;  (Eb^ilbe  ^arolb  ;  £eife 
jie^t  burd)  ntein  ©emiit  ;  @S  fdllt  ein  ©tern  Ijerunter. 

Lenau's  SBitte;  ©d)ilftieb;  SiebeSfeier;  2Binternod)t  ;  2luf  ge^eimem 
3BaIbegpfabe  ;  ©onnemmtergcmg  ;  5r"^^nSgSe^rSn9e  >  ©tiBe 
©idjerljett  ;  2luf  bem  ^eid). 

Geibel's  Sie  Soto^blume  ;  ^w  30?ufil  ;  $Wun  bie  ©fatten  bunfeln. 

Eichendorffs  2)er  ©djatf;   ©ute  9tatf)t;   35er  Sote; 


Morike's  tlm  2Kitternad)t  ;    Sag  nerlaflene  SRagblein;    Siofenjeit; 

SBerborgenfjeit;  S)enf  eg,  D  ©eele! 
Fallersleben's  2)ie  f5^^e«  §elgolanb^  ;  $riif)ling  unb  Siebe  ; 

pelrcanblung. 

Riickert's  @r  tft  gefommen. 
Goethe's  9iaftlofe  Siebe. 
Chamisso's  J)er  ©olbttt. 
Storm's  2)Jeine  3JJutter  ^at'S  gerooQt.   (From  "Immensee.") 


[243] 


SECTION  XII 
THE  ROMANTIC  PAINTERS 

The  very  shibboleth  of  German  Romanticism  was  Art. 
Tieck's  "  Sternbald,"  Wackenroder's  "  Phantasien  iiber 
die  Kunst,"  A.  W.  Schlegel's  "  Die  Gemalde,"  Morike's 
"  Maler  Nolten,"  to  say  nothing  of  the  various  novels  and 
dramas  that  have  artists,  historical  and  fictitious,  as  heroes, 
would  prove  this  if  proof  were  necessary.  The  Romanticists 
were  interested  in  all  that  is  pleasing,  and  man's  three  chief 
mediums  of  expressing  his  ideas  in  a  pleasing  way  are 
words,  colors,  sounds.  Goethe  wrote  "  Erlkonig,"  Moritz 
von  Schwind  painted  it,  Schubert  set  it  to  music.  Such 
instances  of  triple  composition  are  conspicuously  numerous. 
We  have  but  to  think  of  the  "  Nibelungenlied,"  Rethel's 
panels  and  Wagner's  music  in  a  very  general  way,  and 
Uhland's  "  Schloss  am  Meer,"  K.  F.  Lessing's  painting 
and  Raff's  music  in  a  very  specific  way.  Not  to  discuss 
painting  in  a  treatise  on  German  Romanticism  is  to  leave 
the  treatise  a  torso ;  though  the  men  of  letters  were  not, 
like  William  Blake  and  D.  G.  Rossetti  in  England,  also 
painters.  No  one  studies,  for  example,  E.  T.  A.  Hoffmann 
as  a  painter,  though  he  painted. 

And  it  is  this  again  that  separates  Weimar  from  Jena. 
Weimar,  starting  from  Winckelmann  who  preached  the 
glories  of  ebte  (Stnfcttt  unb  fttHe  @ro§e,  and  listening  to 
Goethe,  wanted  clear  outline,  regular  execution  and 

[244] 


THE  ROMANTIC  PAINTERS 

classical  subject :  did  not  Homer  make  many  themes  so  dis- 
tinct that  they  were  already  half  painted  ?  Jena,  that  is  to 
say  Diisseldorf-Rome,  demanded  and  acquired  bold  outline, 
original  execution,  popular  theme,  and  landscape.  But 
Diisseldorf-Rome  was  not  only  national  and  popular,  it  was 
pious.  For  this  piety  Goethe  had  no  patience.  He  had 
time  for  Hackert  and  Zahn,  he  had  no  time  for  Runge  and 
K.  D.  Friedrich.  He  would,  to  be  sure,  have  wasted  some 
effort  had  he  spent  much  time  on  some  of  the  Romantic 
Nazarenes,  whose  creations  have  not  received  the  universal 
suffrage  of  the  initiated.  Nor  did  the  men  of  letters  always 
succeed  in  writing  holy  literature.  And  there  is  a  striking 
similarity  between  the  tendencies  of  the  painters  and  of 
the  writers,  a  similarity  expressed  by  Karl  Immermann 
as  follows :  llnb  tuenn  bteje  ©ttmmung  e&en  bte  fenttmental* 
romantifdje  tuar,  unb  toenn  barin  ba£  SSetcfje,  $crne,  9Rufifa« 
Itfdje,  GontempIattDe  anftatt  beg  ©tarfen,  9?af)en,  Sptaftifdjen, 
|)anbe(nben  fcorttmltete,  toarum  fcfjeltet  £>l)r  bte  2J2a(eret, 
ba  Sf)r  bte  ^Soefte  gelobt  fyabt,  ber  3f)r  afte  etnen  2eU  Surer 
23t(bung  berbanft  ?  2)te  ^jSoefte  ging  boran,  bte  9ftalerei  folgte, 
unb  e§  njurbe  f)ter  etraa^  loafjr,  toa^  £out3  be  9J?at)narb  in 
jetner  SBetradjtitng  iiber  bte  neuere  £unft  ber  granjofen  etn= 
mat  fagte:  "L'ictte  passe  du  papier  a  la  toile"  And  the 
observation  is  apposite. 

There  were  also  a  number  of  sculptors  and  architects 
who  lived  at  the  same  time  as  the  Romanticists  and  asso- 
ciated with  them.  It  is,  however,  impossible  to  speak  of 
Romanticism  in  the  specifically  plastic  arts.  Romanticism 
was  subjective.  And  just  as  music  is  the  most  subjective 
of  the  arts,  so  are  architecture  and  sculpture  the  most 
objective.  All  Classic  art  was  objective,  to  indulge  in  a 

[245] 


OUTLINE  OF  GERMAN  ROMANTICISM 

fairly  tenable  generality  ;  the  predominant  art  form  in  the 
Classic  Ages  was  sculpture ;  in  the  Middle  Ages  it  was 
architecture  ;  in  the  Renaissance  it  was  painting ;  now,  as 
it  was  in  the  days  of  Romanticism,  it  is  music.  If,  then, 
we  find  sculptors  such  as  Rauch,  Rietschel  and  F.  Tieck,  and 
an  architect  like  Schinkel  living  at  the  time  of  the  Romanti- 
cists and  associating  with  them,  let  us  not  try  to  make  them 
out  Romanticists  ;  their  art  does  not  admit  of  such  classi- 
fication. Nor  is  it  proper,  though  it  has  been  done,  to  speak 
of  Sophie  Schroder,  P.  A.  Wolff,  Esslair  and  L.  Devrient 
under  the  caption  of  Romantic  actors.  Time  gives  to  con- 
temporaries a  similarity  of  interest  and  inclination ;  it 
changes  the  fundamental  principles,  the  main  types  of  art 
not  at  all.  There  is  as  much  difference  between  the  paintings 
of  A.  J.  Carstens  and  J.  A.  Koch,  with  their  Classic  ideals, 
and  those  of  Richter  and  Schwind,  with  their  Romantic 
ideals,  as  there  is  between  the  writings  of  Goethe  and 
Wackenroder  on  painting  ;  and  we  cannot  call  Friedrich 
Tieck  a  Romantic  sculptor  simply  because  he  was  the 
brother  of  Ludwig  Tieck,  a  Romantic  writer. 

In  the  matter  of  Romantic  literature  and  Romantic 
painting,  we  have  only  another  exemplification  of  the  fact 
that  literature  is  an  artistic  visualization  and  faithful  reflec- 
tion of  life ;  it  not  only  includes  everything  that  goes  to 
make  up  life,  it  is  coeval  with  life.  The  various  ways  in 
which  art  manifests  itself  have  changed  from  time  to  time  ; 
literature  has  remained  about  the  same.  The  lyrics  of 
Sappho,  the  epics  of  Homer,  the  dramas  of  Sophocles 
have  not  been  improved  upon.  Literaturejcomes-^fiist. 
And  just  as  the  poems  of  Goethe  and  Heine  were  written 
first  and  the  compositions  of  Schubert  and  Schumann 

[246] 


THE  ROMANTIC  PAINTERS 

came  later,  so  did  the  Madonnas,  landscapes,  sagas,  folk 
songs,  fairy  tales,  and  lyrics  of  the  Romantic  poets  come 
first ;  and  then  came  the  paintings  of  these  by  the  men 
here  listed.  The  number  is  nearly  complete.  Each  one 
is  accompanied  by  a  brief  note  of  characterization  and  a 
sufficient  number  of  his  works  to  show  in  what  direction 
he  tended. 

Though  it  would  seem  at  first  blush  that  all  color-art  is 
Romantic,  it  is  just  in  this  phase  of  the  century  that  we 
must  proceed  with  the  strictest  adherence  to  tradition. 
Beginning  with  K.  D.  Friedrich,  born  in  1774,  and  clos- 
ing with  A.  Rethel,  who  died  in  1859,  we  have  sixty  years 
of  Romantic  painting  ;  we  have  no  more.  And  even  in  these 
sixty  years  we  must  allow  time  for  genesis  and  attenua- 
tion. The  flowering  time  of  Romantic  painting  was  from 
about  1810  to  about  1835.  At  least,  one  cannot  go  beyond 
the  sixty  years.  J.  A.  Koch's  "  Schmadri-Wasserfall  im 
Lauterbrunnen  Tal "  is  certainly  romantic.  But  Koch, 
born  in  1768,  came  too  early  to  be  included  in  the  group 
that  oscillated  between  Diisseldorf  and  Rome  ;  he  stayed 
too  exclusively  in  Rome.  And  Bocklin's  "  Meeresbran- 
dung  "  is  certainly  romantic,  but  Bocklin,  born  in  1827, 
came  too  late.  Anyhow,  his  paintings,  though  they  remind 
one  somewhat  of  "  Undine  "  and  her  kind,  have  also  a 
strong  tinge  of  Classical  mythology ;  there  is  too  little  in 
Bocklin  that  drives  us  to  German  legends  to  get  the  con- 
nection. But  if  we  take  Friedrich  at  the  beginning  or 
Rethel  at  the  end,  we  move  in  the  same  world  that  the 
Romantic  poets  poetized.  And  though  paintings,  like 
concerts,  are  not  always  accessible,  the  student  has  not 
done  his  full  duty,  he  has  not  availed  himself  of  his  real 

[247] 


OUTLINE  OF  GERMAN  ROMANTICISM 

opportunity,  until  he  has  seen  what  the  idea  in  question 
means  to  the  man  who  expresses  himself  in  colors.  There 
is  diluted  Romanticism  even  in  such  a  painting  as  Karl 
Spitzweg's  "  Gedanken  sind  zollfrei." 

BIBLIOGRAPHY 

2)te  beutfdje  $unft  be§  neunjefynten  Sal^unbertS.  By  Cornelius 
Gurlitt,  Berlin,  1907.  722  pp.  The  best  book  on  the  subject.  It  is 
Volume  II  in  the  series  "  Das  neunzehnte  Jahrhundert  in  Deutsch- 
lands  Entwicklung,"  edited  by  Paul  Schlenther.  Read  especially 
chapter  v,  "Die  Romantiker,"  pages  180  to  279.  The  illustrations  are 
excellent  and  the  painters  are  discussed  in  connection  with  the  men 
of  letters. 

©efdjtdjte  ber  SJZalerei.  By  Richard  Muther,  Leipzig,  1909.  In  3  vol- 
umes. Read  Volume  III,  602  pp.  A  history  of  painting  in  general,  not 
simply  that  of  Germany. 

2Ufreb  3Jetf)el :  ®e3  SMfterS  SBerfe  in  300  2lbbtlbungen.  By  Josef 
Ponten,  Stuttgart  and  Leipzig,  1911.  202  (large)  pp.  An  excellent  book 
in  an  excellent  series,  "  Klassiker  der  Kunst,"  Volume  17.  There  is 
also  one  on  Schwind,  Volume  9. 

5hmge  unb  bie  Siomantif.  By  Andreas  Aubert,  Berlin,  1909.  127  pp. 
The  best,  the  only  book  on  Runge.  Illustrated.  A  valuable  work  because 
of  Runge's  relation  to  Tieck  and  his  similarity  to  Novalis. 

2Jia§fengefprad)e.  By  Karl  Lebrecht  Immermann,  in  "  Diisseldorfer 
Anfange,"  1840.  108  pp.  Immermann  lived  with  and  knew  intimately 
the  Diisseldorf  group  of  painters. 

glister  jur  $unft.  SSon  bexitfcfjer  $unft.  By  Karl  Woermann,  Ess- 
lingen,  1907.  85  pp.  A  very  good  small  manual. 

The  Schools  of  Modern  Art  in  Germany.  By  J.  Beavington  Atkinson, 
New  York,  1881.  150  (quarto)  pp. 

2>er  beutfdje  Sicerone.  By  G.  Ebe,  Leipzig,  1898.  In  3  volumes. 
Volume  III,  475  pp.  Read  pages  301  to  397  ("  Epoche  der  Klassik  und 
Romantik  "). 

©eutfdje  $unft  unb  beutfdje  ^olitif.  By  Richard  Wagner,  Leipzig, 
1868.  112  pp.  A  series  of  detached  articles  that  deal  mostly  with  the 
musical  and  mimetic  arts,  but  of  much  general  interest  and  value. 

©runbrtfj  ber  $imftgefdjtd)te.  By  Heinrich  Bergner,  Leipzig,  1911. 
333  PP-  There  is  a  second  edition,  1912,  slightly  changed  and  enlarged. 

[248J 


THE  ROMANTIC  PAINTERS 

Contains  448  illustrations.  An  excellent  manual  from  which  to  get  a 
general  idea  of  architecture,  sculpture  and  painting. 

Seutfdje  $unft  in  SBort  unb  $arbe.  Edited  by  Richard  Graul,  Leip- 
zig, 1911.  A  most  excellent  work. 

§augbud)  beutfd>er  $unft.  Compiled  by  Eduard  Engels,  Stuttgart, 
1907.  Contains  only  pictures;  a  superb  collection. 

STUDY  LIST 

Kaspar  David  Friedrich  (1774-1840) 

(Sir  ift  ber  etgentlidje  iiieblinggmaler  ber  romantifdjen  ©djriftfteller 
geroefen.  2Ran  liebte  ben  melandplifdjen  ©runbton,  bie  geb,eim= 
niScoUe  (Sinfamfeitgpoefie,  bie  Dfftan=©timmung  feiner  33ilber.  — 
Muther. 

"  Kreuz  im  Gebirge,"  "  Der  Sturzacker,"  "  Landschaft  mit  Regen- 
bogen,"  "  Mondbild,"  "  Das  Hiinengrab." 

Philipp  Otto  Runge  (1777-1810) 

2)ag  ©tubium  ber  2Uten  unb  bag  (Sntroideln  aller  ©tufen  ber  5?unft 
barau§  ift  jroar  fehr  gut,  eg  lann  ober  ben  [bem]  ^iinftter  ntdjtg  fyel- 
fen,  roenn  er  nidjt  babin  fommt  unb  gebradjt  roirb,  ben  gegenraarti= 
gen  SJZoment  beg  Safegng  mit  alien  ©djmerjen  unb  ^reuben  ju  faffen 
unb  ju  betracb^ten;  roenn  ni^t  alleg,  roag  ibm  begegnet,  perfonlicb/e 
33erub,rung  ntit  ber  roeiteften  ^erne  unb  bem  innerften  £ern 
SajerinS,  mit  ber  alteften  5?ergangenb,eit  unb  ber  berrlidjften 
tt)irb.  —  Runge  to  Schelling. 

"  Lehrstunde  der  Nachtigall,"  "  Triumph  des  Amors,"  "  Ossian 
mit  der  Harfe,"  "  Die  Geburt  Fingals,"  "  Die  Musica,"  Der  Mor- 
gen,  Der  Tag,  Der  Abend,  Die  Nacht,  four  parts  of  his  chief  work, 
"  Die  Tageszeiten." 

Peter  Cornelius  (1783-1867) 

©r  b,at  nad)  feinen  eigenen  SBorten  in  ben  93ilbern  fetne  pljilofopb> 
fdje  2)oftorbiffertation  gefd)rieben.  ©r  roar  ber  ©eiftegoerroanbte  ber 
grofien  ©elefyrten,  bie  bamalg  ib,re  tiefabgriinbigen  pbjlofopljifdjen 
©nfteme  erfannen.  ©ignorelli,  2)iirer,  SRaffael,  ©oboma  unb  2Kid)el= 
angelo  geben  fid)  [bei  ifjm]  ein  poftfjumeg  ©teUbidjein.  —  Muther. 

"  Die  apokalyptischen  Reiter,"  "  Joseph  deutet  die  Traume  Pha- 
raos,"  "  Gretchen  im  Kerker,"  "  Das  jiingste  Gericht,"  "  Nibelungen- 
lied,"  "  Faust  und  Mephisto  am  Rabenstein." 

[249] 


OUTLINE  OF  GERMAN  ROMANTICISM 

Franz  Pforr  (1788-1812) 

^Bforr  roar  f  ftdE)  barauf,  £)iirer§  2lrt  ju  ergriinben.  Sr  ift 
afymer,  fonbern  etn  roaster  Mnftler,  ber  alle  §offnung  geroahrte,  bajj 
er  au3  bem  ©inbenfen  in  anbere  jur  perfbnlidfjen  $reil)ett  gelangen 
roerbe.  —  Gurlitt. 

"  Rudolf  von  Habsburgs  Begegnung  mit  dem  Priester." 

Friedrich  Overbeck  (1789-1869) 

©eit  DcerbedE  1813  jum  $atl)oli3i3mu§  iibergetreten  roar,  fanb  er 
in  biefem  fein  colleS  ©liicf.  (Sein  ©c^affen  ift  ©ebet,  ©ebet  um  ba^ 
eigene  QeU'uttb  im  ©inne  ber  guten  SBerfe  um  bag  ^eit  anberer. 
Doerbecf  neigte  fid^  in  Seraiinberung  cor  gra  2lngelico.  —  Gurlitt. 

"Magnifikat  der  Kiinste,"  "Joseph  wird  von  seinen  Briidern  ver- 
kauft." 

Wilhelm  Schadow  (1789-1862) 

2)ie  S)icf)ter  unb  ©agen  aQer  geiten  mu|ten  ityre  beften  ©toffe  b,er= 
geben.  SJomanttfdje  ^onig^finber,  fa^one  5^»en^  ^irtenfnaben  unb 
dauber,  ^een  unb  Grjodter,  fcfyliefjlid)  audi  roeinfro^Ud^e  ©pie^biirger 
unb  fromme  SBauern  rourben  ju  J)ubfo)en  S3ilbcb,en  cerarbeitet.  — 
Bergner. 

"  Die  heilige  Familie,"  "  Paradies,  Fegefeuer  und  Holle,  nach 
Dante,"  "  Die  freigeborene  Poesie,"  "  Mignon  in  die  Saiten  grei- 
fend,"  "  Die  heilige  Hedwig,"  portraits  of  Immermann,  Felix  Men- 
delssohn, Thorvaldsen. 

Philipp  Veit  (i  793-187 7) 

$f)ilipp  SSeit  aug  $ranffurt,  ber  aB  (Snfel  3JJofeg  2Renbel3fob,n3,  alg 
©o^n  2)orot^ea  SSeit  unb  ©tieffofjn  ^riebrid)  ©d)Iege(g  feine  Sxtgenb 
in  jeb,r  aft^etifa^en  5?reifen  oerlebt  ^at,  erinnert  an  33orgognone. 
©eine  beiben  ijbauptroerte  finb  Don  einer  nicfyt  unfnntpat^ifo^en  trau= 
merifd^en  SBeidjfyeit.  —  Muther. 

" Selbstbildnis  aus  der  Jugendzeit,"  "Die  Einfiihrung  der  Kiinste 
in  Deutschland  durch  das  Christentum." 

Julius  Schnorr  von  Carolsfeld  (1794-1872) 

3Son  jeinen  [Sorneliu^]  ©cb,iilern  malte  ©d^norr  in  ber  3Kuna)ener 
3tefibenj  in  grojjen  ^re^fen  ba^  3tibelungenlieb,  fcpne  2JJenfa^en,  fd^one 
^leiber  unb  erfjabene  ©ebarben,  aber  roenig  ©eift.  £>te  Silberbibel, 
roelc^eerim2llterin®re§benjeid)nete,iftunfagbareintonig. — Bergner. 

"Familie  Johannes  des  Taufers  bei  jener  Christi,"  "Verkiin- 
digung,"  "  Bildnis  Friedrich  Riickerts." 

[250] 


THE  ROMANTIC  PAINTERS 

Karl  Rottmann  (1798-1850) 

SRottmann  fud)te  trie  ©efdjidite  in  ber  2anbfcb,aft,  fei  eg  bie  33egeben= 
tyeiten  aug  bem  Seben  ber  SSolfer  ober  bie  Umroaljungen  ber  @rbe, 
roie  fie  Shilfane  unb  roilbe  33erglinien  bem  im  ©eifte  2Uer.anber  con 
iQumbolbtg  Saufdjenben  erjafjlen.  —  Gurlitt. 

"  Marathon,"  "  Celafu,"  "  Meereskiiste  im  Sturm." 

Joseph  von  Fiihrich  (1800-1876) 

SBei  ber  iiberroiegenb  poetifa)en  2lnlage  beg  jungen  $iinftlerg  roaren 
eg  begreiflidjerroeife  bie  2)ia)ter,  roelcfje  if)n  anjogen,  junacfjft  roirften 
beftimmenb  auf  ib,n  ©filler,  Xietf,  yiovaliZ,  Spiegel  unb  SBacfen; 
rober.  —  Grueben. 

"Marias  Gang  iiber  das  Gebirge,"  "Derarme  Heinrich,"  "Das 
alte  und  neue  Rom." 

Adrian  Ludwig  Richter  (1803-1884) 

3)er  ungefyeitre  oolfgtiimlic^e  2Bert  ber  5hmft  Subroig  3ticf)terg,  auf 
ben  roofyl  malerifd^e  Xalente  roie  3)abl  unb  ^nebric^  in  frii^er  iyugenb 
eingerairft  batten,  ber  aber  aud)  in  ben  iireig  ber  9iajarener  getreten 
raar,  liegt  ebenfallg  auf  feinem  gutmiitigen  ©rjablertalent.  21I§  3Kaler 
fud^te  er  fic^  an  ber  2Beife  beg  alloerefirten,  ju  friif)  cerftorbenen  5?arl 
^ob/r  ju  bilben,  beffen  Sanbfc^aften  con  ber  jungen  @d)ar  ber  9l6m= 
linge  berounbert  rourben.  Slber  roeit  bebeutenber  alg  ber  Staler  an= 
ntutiger,  mit  einer  gillie  oon  gigwren  ftaffierter  Sanbfc^aften,  ift  bocf) 
ber  3dd)ner  gfliajter.  —  Graul. 

"  Im  Mai,"  "Am  Rhein,  da  wachsen  unsre  Reben,"  "  Uberfahrt  am 
Schreckenstein,"  "  Brautzug  im  Friihling,"  "  Es  fiel  ein  Reif,"  "  Ge- 
novefa,"  "  Dornroschen,"  "  Der  kleine  Daumling,"  "Abendandacht." 

Moritz  von  Schwind  (1804-1871) 

(Sinem  ^Soeten  roie  er  einer  roar,  fam  eg  gar  nidjt  an  auf  malerifdje 
©efc^icflic^feit  ober  auf  treue  5Raturroiebergabe,  roie  fie  t>on  ben  ^tin- 
gern  am  2Berf,  oon  ben  wreatiftifc^en"  $)iftorien=  unb  ©enremalern, 
geforbert  ju  roerben  begann.  3)urd)  bie  Seftiire  ber  9)Jinnefinger  roar 
er  ganj  auf  bie  romantifdje  2BeIt  unb  in  bie  £errlid)ieit  altbeutfcb.er 
SSergangenb,eit  unb  trauter  2Rdra)enpoefie  fyingefiifyrt  roorben,  unb  roag 
er  .  .  .  gefd)affen  b,at,  ift  ein  b,o^e§  Sieb  auf  bie  poetifc^e  Sinnigfeit 
beutfdjer  2lrt  unb  beutfcb,er  Sicb/tung.  2ludj  roo  er  ©jenen  beg  ^ami- 
lienlebeng  fd^ilberte,  jeigte  er  fie  im  fjeiteren  2lbglanj  }arter  ^Soefie 
ober  golbenen  §umorg.  —  Graul. 

[251] 


OUTLINE  OF  GERMAN  ROMANTICISM 

"  Die  Morgenstunde,"  "  Die  Hochzeitsreise,"  "  Elfenreigen,"  "  Die 
Symphonic,"  "  Waldkapelle,"  "  Die  Schopfung,"  "  Die  schone  Me- 
lusine,"  "  Die  sieben  Raben,"  "  Die  Rose,"  "  Der  gestiefelte  Kater," 
"  Erlkonig,"  "  Rubezahl,"  "  Aschenbrodel,"  "  Morgengrauen,"  "  Des 
Knaben  Wunderhorn." 

Friedrich  Preller  (1804-1878) 

2jm  roeiteren  SSerlauf  feiner  Sugenb  nwrbe  Atelier  im  20efentli$en 
burd)  ©oetfjeg  giirforge  bergeftalt  begunftigt,  bafj  er  ttn  iginblicf  auf 
feine  fpateren  £eiftungen  alg  ein  berufener  33ertreter  ber  ^unftleljre 
beg  2)id)terg  gelten  barf.  %m  Eolorit  E)at  ^reller  in  feinen  Dbt)ffee= 
lanbfdjaften  ba^  SBetterleben  beg  9iorben§  in  rounberfamen  ©inflang 
gebradjt  mit  ber  gormenflarfyeit  beg  ©iibeng.  —  V.  Donop. 

"  Odysseelandschaft,"  "  Norwegische  Landschaft." 

Wilhelm  von  Kaulbach  (1805-1874) 

Spatte  er  bie  2Birflid^Ieit  bigfyer  nur  oon  ber  roiberrocirtigften  ©cite 
lennen  gelernt,  unb  raar  feiner  reid)begabten  37atur  ber  ^bealigmug 
fetnegroegg  fremb,  \ o  mu^te  ifym  bie^luc^t  oor  ber  ©egenroart  ing  raette 
SReic^  ber  ^S^antafte,  roelcfje  bag  d^arafteriftifd)e  foment  ber  @d)ule  tute 
ber  3fiomanttl  iiberfjaupt  bilbet,  mofyl  entfpred^en,  obrao^l  fein  Seben  ifyn 
le^rte,  fie  balb  mit  bem  fjarteften  Stealigmug  511  »erbinben.  —  Fr.  Pecht. 

"  Der  Verbrecher  aus  verlorener  Elftre,"  "  Die  Zerstorung  Jerusa- 
lems,"  "  Die  Hunnenschlacht." 

Johann  Wilhelm  Schirmer  (1807-1863) 

2Ug  ^anbfc^aftgmaler  fteljt  ©dEjirmer  in  Seutfdjlanb  neben  Seffing 
alg  f)er»orragenber  SSertreter  ber  Siiffelborfer  @d)ule.  2ln  Siefe  beg 
Jiaturftubiumg  Seffing  ebenbiirtig,  in  ber  3)JannigfaItig!eit  ber  2(uf= 
gaben,  bie  er  feinem  ^Jinfel  ftellte,  iiberlegen,  fte|t  er  alg  !ybealift  jjer 
Sanbfd^aftgmalerei  neben  3tottmann  nnb  'preller.  SUJan  f dEjafct  bie  Qafyl 
feiner  auggefiib^rten  Dlgema'Ibe  auf  230.  —  V.  Weech. 

"Deutscher  Urwald,"  "Italienische  Landschaft  mit  Pilgern," 
"  Vom  Heidelberger  Schloss,"  "  Wetterhorn." 

Karl  Friedrich  Lessing  (1808-1880) 

©g  feblt  if)m  bie  SBeite  beg  33Iideg;  eg  feb,lt  i^m  ber  2Rut,  bie  gro= 
^en  ©rfdEjeinnngen  feiner  5liinft  ing  2luge  ju  faffen.  ©ein  wS^elin" 
raar  bag  einjige  unter  ben  neueren  SBUbern  beg  aJiiifeximg,  roeldjeg  mir 
neben  ben  alten  3Berfen  ©ticf)  f)ielt.  —  Immermann. 

"Motiv  aus  dem  Harz,"  "Die  tausendjahrige  Eiche,"  "Hus  auf 
dem  Scheiterhaufen,"  "  Belagerung." 

[252] 


THE  ROMANTIC  PAINTERS 

Karl  Spitzweg  (1808-1885) 

Dbroob,!  er  roeber  Sauern  nod)  £inber  malte,  jroitfdjert  aud)  in  feinen 
SBerfen,  rote  in  einem  meffingnen  Sogelbauer  eingefdjloffen,  bieganje 
SRomantif.  2lUe3  rooran  man  benft,  roenn  ba3  SBort  Siebermeierjeit 
genannt  roirb,  ift  oereinigt:  2Balbesluft,  fleinftdbtifdjeS  ©tilleben, 
2Rufif  unb  2JJonbfdjein.  —  Muther. 

"  Beim  Morgenkaffee,"  "  Flotenkonzert,"  "  Der  Friede,"  "  Spazier- 
ganger,"  "Lektiire,"  "Der  Pfarrhof,"  "  Strickender  Monch,"  "Der 
arme  Poet." 

Eduard  Steinle  (1810-1886) 

©erootynlid)  nimmt  ©teinle  fiir  jeine  reidje  ©djopfunggfraft  bie 
$orm  be^  Gpclug  in  2lnfprudj :  f)ier  nerftefit  er  es,  namentlid)  in  ben 
fpateren  SBerfen,  mit  grower  bramatifdjer  5lroft  ben  ^ortgang  ber  @r= 
ja^lung  SSieter  wor  2lugen  511  ftellen,  bie  er  tfyetls  ber  Segenbe,  t^eilg 
bem  9Kdrd^en  xtnb  ber  poetijdjen  Siteratur  entnimmt :  ^ier  fei  in  erfter 
Sinie  bie  Segenbe  ber  tyeiligen  @up^rofi)ne  errodfint,  bann  bie  fjeilige 
2Kargarita  oon  Gortona,  ©djneeroei^d)en  unb  Siofenrot,  ber  ^aufmann 
Bon  SSenebig,  ^arjinal,  ferner  bie  ©djopfungen  nad)  ben  2JZdrdjen  con 
Srentano,  in  benen  bie  ©eltfamreiten  ber  romantifd^en  Saunen  bes 
2)id)ter3  ju  reijoollen  ©ebilben  abgefldret  erjd)einen,  roie  im  2JJiiUer 
Slablauf,  rodfjrenb  bie  braftifd^e  SebengroeiS^eit  in  ben  3HeF)reren 
SBe^miiller  mit  oollenbetem  Jjbumor  jur  Sarftellung  fommt.  —  Veit 
Valentin. 

"  Die  Lorelei,"  "  Der  Kardinal-Grossponitentiar,"  "  Marchen  vom 
Rhein." 

Karl  Wilhelm  Hubner  (1814-1879) 

2U§  er  fid^  sum  25ar[teller  ber  bie  Qeit  mdd^tig  beroegenben  focialen 
gragen  madjte,  unb  biefelben  in  lebenbiger,  roirfung^coller  SBeife 
jum  (Segenftanb  feiner  ©emdlbe  rodb,Ite,  ba  roar  fein  3tuf  mit  einem 
2Hale  begriinbet  unb  roud)^  in  erftaunlidjem  3Ka^e.  —  M.  Blanckarts. 

"  Die  schlesischen  Weber,"  "  Das  Jagdrecht,"  "  Hiilfe  in  der 
Noth,"  "  Die  Verlassenen." 

Andreas  Achenbach  (1815-1910) 

3n  feiner  3luffafjung  entfernte  fid)  Slnbreag  2ld)enbad)  oon  ber  5lo= 
mantif  ©dn'rmerS  unb  Seffing§,  aber  al§  einen  3"9  i>er  Qeit  be^ielt 
er  eine  geroiffe  bramatifd;e  ober  patb,etifd)e  JJeigung  bei,  bie  ib,n  oft  §u 
einer  malerifd)  unb  fadjlid)  ^effeftDOlIen"  2)arfteUung  oerleitete. 
biefem  §ang  jum  ffinterefanten"  5Wotin  unb  jur 

[253] 


OUTLINE  OF  GERMAN  ROMANTICISM 

fyatte  er  ein  gut  £eil  mefjr  realiftifdjen  ©inn  itnb  ^efpeft  oor  ber  3ta= 
tur  al3  bie  meiften  feiner  jeitgenoffifd^en  9tioalen.  —  Richard  Graul. 

"  Stiirmische  Landung,"  "  Westfalische  Miihle,"  "  Westfalische 
Landschaft." 

Alfred  Rethel  (1816-1859) 

2)a3  fyat  Sletfyel  mit  SBagner  gemeinfam,  bajj  if)re  2Berfe,  burcfiau^ 
ber  Siomanti!  entfprofjen,  fiir  bie  Siomantif  tfjrer  $eit  nic^t  roeidjltcf) 
genug  roaren;  nur  if)re  f>erbe  realtftifd^e  Setmifdjung  ^at  fie,  eble 
itonferuen,  bie  lange  $eit  UBerfte^en  unb  cmd)  fjeute  genie^bar  bleiben 
la[jen.  —  Ponten. 

"  Karl  Martell  in  der  Schlachtbei  Tours,"  "  Rudolf  von  Habsburg 
im  Kampfe  gegen  die  Raubritter  in  der  Schweiz,"  "  Tod  Arnolds  von 
Winkelried,"  "  Die  Kreuzfahrer  erblicken  Jerusalem,"  "  Rheinischer 
Sagenkreis,"  "  Loreley,"  "  Illustrationen  zum  Nibelungenlied," 
"  Entwurf  zum  Kopfe  des  toten  Karl,"  "  Der  Sturz  der  Irmensaule," 
"  Saulus-Paulus,"  "  Kampf  der  Kiinste  und  Wissenschaften,"  "  Das 
Lutherlied,"  "  Frauenlobs  Begrabnis,"  "  Komposition  zur  Eroica- 
symphonie." 


[254] 


SECTION  XIII 
AN  INTRODUCTORY  COURSE 

An  introductory,  an  undergraduate  course  in  literature 
should  inspire,  a  graduate  course  should  instruct.  In  the 
former  the  student  should  be  made  familiar  with  the  most 
interesting  works  of  the  period ;  in  the  latter  he  should 
study  those  works  that  have,  unfortunately,  less  popular  in- 
terest but  more  historical  significance.  Great  is  the  teacher 
who  can  do  advanced  work  in  an  introductory  course  ;  rare 
is  the  student  who  can  be  successfully  instructed  in  litera- 
ture without  first  having  been  inspired.  He  will  not  ap- 
proach the  source  with  much  zest  if  he  has  not  already 
been  interested  in  the  best  that  has  flowed  from  it.  The 
appended  bibliography  will  throw  abundant  light  on  the 
Romantic  movement  from  the  undergraduate  point  of  view, 
while  the  reading  list  has  been  made  so  as  to  cover  the 
entire  movement,  with  something  valuable  from  and  typical 
of  each  of  the  main  writers.  The  course  as  outlined  does 
not  contain  any  real  dramas  :  the  Romanticists,  with  the 
exception  of  Kleist,  Grabbe  and  Werner,  were  so  weak 
along  dramatic  lines  that  it  is  best  for  the  undergraduate  to 
confine  his  attention  to  fiction,  wherein  they  had,  each  and 
all,  intermittent  moments  of  real  inspiration  ;  and  to  the 
lyric,  wherein  they  excelled. 

Why  study  just  these  works  ?  It  would  be  impious  to 
defend  the  Grimms'  "  Deutsche  Sagen,"  containing,  as  the 

[255] 


OUTLINE  OF  GERMAN  ROMANTICISM 

collection  does,  579  stories  that  belong  only  to  Germany. 
The  work  is  a  golden  treasury  of  imaginative  legends  indis- 
solubly  connected  with  places  and  people,  legendary  narra- 
tives that  the  serious  student  of  German  will  turn  to  again 
and  again  on  finding  popular  allusions  in  pure  literature, 
while  the  lover  of  things  interesting  will  read  them  for  their 
own  sake.  Heine's  work,  inaccurate  though  it  is  in  places, 
gives  one  nevertheless  a  fairly  good,  and  certainly  readable, 
account  of  the  main  landmarks  in  the  Romantic  movement. 
The  two  books  by  Ricarda  Huch,  though  they  discuss  but 
little  literature,  are  written  in  a  style  that  charms  and  with  a 
wealth  of  content  that  is  rare.  The  very  chapter  headings 
of  these  books  give  one  an  insight  into  the  comprehen- 
siveness of  the  Romantic  movement.  Robertson's  history 
will  enable  the  student  in  a  short  time  to  know  where  he 
is  at  any  time  in  his  course.  Spiess's  chrestomathy  would 
be  worth  buying  if  it  contained  only  the  prose  selection 
from  Schloiermacher,  otherwise  so  inaccessible.  The  chief 
merits  of  Wernaer's  book  are  that  it  points  out  the  mission 
of  the  Berlin-Jena  Romanticists  and  shows  what  lessons 
we  may  learn  from  them.  Nollen's  anthology  is  uniquely 
relevant  because  of  the  selections  it  contains,  the  introduc- 
tion to  these  and  the  notes  on  them.  Deckelmann  makes 
many  suggestions  relative  to  the  meaning  of  the  works 
subjoined  in  the  reading  list,  and  closes  with  a  catalogue 
of  302  possible  themes  the  reasonableness  of  which  is  evi- 
dent and  the  elaboration  of  which  would  be  fruitful.  And 
Hesse  has  gathered  together  in  attractive  form,  with  an 
enlightening  introduction  and  no  impeding  notes,  a  num- 
ber of  lyrics,  all  of  which  will  repay  reading,  some  of  which 
will  justify  learning. 

[256] 


AN  INTRODUCTORY  COURSE 

And  why  read  just  these  works  ?  Tieck's  "  Kater,"  with 
its  delightful  attack  on  the  naturalism  of  the  Berlin  stage, 
enables  one  to  see  and  to  laugh  at  what  was  then  going  on 
on  the  German  stage  ;  the  best  satirical  comedy  in  German 
literature,  it  shows  not  only  what  the  playwrights  were 
then  offering  but  what  a  perverted  public  taste  demanded. 
"  Eckbert,"  translated  by  Carlyle,  one  of  the  first  things 
Tieck  wrote  after  breaking  away  from  the  bondage  of 
Nicolai,  abounds  in  Romantic  conceits  and  is  written  in 
superb  style.  "  Ofterdingen  "  is  Romanticism  ;  it  symbol- 
izes  it.  To  read  about  this  work  and  do  nothing  more  is 
voluntarily  to  stay  outside  of  the  temple  when  one  could 
without  ceremony  walk  in  and  sit  down.  "  Wunderhorn  " 
is  the  song-book  of  the  whole  movement  and  one  of  its 
choicest  accomplishments.  It  is  not  necessary  to  read  all 
of  it ;  it  is  unwise  to  read  none  of  it.  "  Kohlhaas  "  is  a 
poetization  of  vengeance  and  is  Romantic  by  reason  of  its 
extravagance  ;  it  and  the  poems  in  Spiess  leave  one  in  no 
doubt  as  to  where  Kleist  stood  with  reference  to  his  age. 
"  Undine,"  the  sole  surviving  child  of  Fouque's  mind, 
contains  Romanticism  for  the  many  ;  it  is  lay  romanticism. 
"  Ganzgott  "  reads  as  though  it  had  been  written  by  a  man 
in  a  thoroughly  good  humor  and  pictures  the  unfortunate 
condition  of  a  country  divided  into  very  many  very  small 
states.  The  "  Kinder-  und  Hausmarchen "  contains  in 
prose  what  "  Wunderhorn  "  contains  in  verse,  with  a  dif- 
ference as  to  content.  The  constant  change  from  the 
natural  to  the  supernatural  in  "  Der  goldene  Topf  "  shows 
Romanticism  as  it  came  from  the  mind  of  a  man  infre- 
quently sober.  "  Schlemihl "  has  become  a  household 
word  ;  there  is  always  something  interesting  about  a  good 

[257] 


OUTLINE  OF  GERMAN  ROMANTICISM 

man  in  trouble,  so  long  as  we  have  reason  to  hope  that, 
somehow  or  other,  he  will  eventually  disentangle  himself. 
"  Kasperl  und  Annerl  is  a  short  story  on  honor  from 
various  points  of  view ;  one  of  the  first  j£)orfgefcf)tcfiten  in 
German  literature,  we  read  it  and  wonder  how  and  why 
Brentano  wrote  it.  "  Taugenichts  "  is  a  delightful  picture 

J  of  a  romantic  loafer,  written  by  a  man  who  was  very  indus- 
trious. It  is  a  91et)croman  written  to  please,  or  rather  to 
bring  out  pleasing  traits  in  an  interesting  character ;  not 

4  to  present  a  philosophy  of  life  as  did  the  earlier  works  by 
Goethe  and  his  followers  that  were  built  on  a  similar  plan. 
"  Sendomir  "  is  a  Romantic  story,  full  of  all  manner  of 
gruesomeness,  written  by  Grillparzer,  who  is  in  no  way  con- 
nected with  Romanticism  as  a  movement.  "Oberhof  "  is 
the  first  happy  herald  of  Realism.  "  Heidedorf  "  should  be 
studied  for  its  picture  of  nature ;  one  could  write  an  interest- 
ing study  on  it  in  comparison  with  Tieck's  "  Runenberg." 
Morike's  "  Mozart "  is  one  of  those  many  ^iinftterromanc, 
and  a  more  delightful  one  than  Morike's  is  not  to  be  found 
in  German  literature.  And  Wagner's  "  Meistersinger " 
\  takes  us  back  to  the  late  Middle  Ages,  from  which,  ac- 
cording to  Heine,  the  whole  movement  started. 

BIBLIOGRAPHY 

1816.   The   Grimm   Brothers:   Seiltfcfje  ©agcn   (Nicolaische  Verlags- 

Buchhandlung) . 

1833.    Heinrich  Heine:  S)te  romatltijdje  ©cfjule  (Cotta). 
1899.    Ricarda  Huch  :  33liitejeit  bee  Stomantt!  (H.  Haessel  Verlag). 

1902.  Ricarda  Huch :  2lu3breitung  wtb  SBerfaU  ber  3tomantif  (H.  Haessel 

Verlag). 

-  1902.   John  G.  Robertson:  A  History  of  German  Literature  (William 
Blackwood  and  Sons).    Pages  399-557- 

1903.  Heinrich  Spiess:  2)ie  beutfcfyen  SRotnanttfer  (G.  Freytag). 

[258] 


AN  INTRODUCTORY  COURSE 

-1910.    Robert  M.  Wernaer:  Romanticism  and  the  Romantic  School  in 

Germany  (Appleton). 
1912.   John  Scholte  Nollen:  German  Poems,  1800-1850  (Ginn). 

1912.  Heinrich  Deckelmann:  35te  Siteratur  be£  neunje^nten  !3af)rfyun= 

bertS  tm  beutfdjen  llnterricfyt  (Weidmannsche  Buchhandlung). 

1913.  Hermann  Hesse:  Set  3<i"&er&runnen.   25ie  Sieber  ber  beutfd)en 

3tomantif  (Gustav  Kiepenheuer  Verlag). 

READING    LIST 

1797.  Tieck :  Set  geftiefelte  flater  (Cotta). 

1797.  Tieck:  2)er  blonbe  ©clbert  (Cotta). 

-1800.  Novalis  :  <5einrid)  von  Dfterbingen  (Hesse). 

1805.  Arnim  and  Brentano  :  £)e§  $naben  3Bunber^orn  (Reclam). 

1810.  Kleist:  3JMd)ael  £o^lf>aag  (Holt). 

1811.  Fouque  :  llnbine  (Holt). 

1811.  Arnim:  ^iirft  ©anjgott  unb  ©anger  ^albgott  (Reclam). 

1812.  The  Grimm  Brothers :  ^inber=  unb  §augmarcf)en  (Holt). 

1813.  Hoffmann:  2)er  golbene  Xopf  (W.  Langewiesche-Brandt). 

1814.  Chamisso :  5(5eter  ©c^Iemi^IS  rounberfame  ©efcf)td)te  (Holt). 
1817.  Brentano:  ©efc^ic^te  oom  braoen  ^afperl  unb  fc^onen  Slnnerl 

(Reclam). 

1826.  Eichendorff:  2lu§  bem  Seben  eine§  Xaugenid^tg  (Holt). 
1828.  Grillparzer:  J)a§  ^lofter  bei  ©enbomir  (Cotta). 

1839.  Immermann:  2)er  Dbertyof  (G.  Freytag). 

1840.  Stifter:  2)a3  Jpetbeborf  (American  Book  Company). 
1855.   Mdrike :  SRojart  auf  ber  9tetfe  nac^  ^8rag  (Ginn). 

1862.   Wagner :  2Reifterfinger  oon  •ftiirnberg  (American  Book  Company). 


[259] 


INDEX 


Achenbach,  Andreas,  253-254 
Alexis,  Willibald,  73,  74-75 
Arndt,  E.  M.,  73,  74,  76-77 

nim,  Achim  von,  55-56,  57-59, 

257.  259 


Baader,  F.  X.  von,  221 
Beneke,  F.  E.,  230,  232 
Bernhardi,  A.  F.,  218 
Boisseree,  M.,  32,  222 
Boisseree,  S.,  32,  222 
Borne,  Ludwig,  142-143 
Brentano,  Clemens,  56,  59-61,  258, 

259 
Biichner,  Georg,  145 

Carove,  F.  W.,  223 

Cams,  K.  G.,  222 

Chamisso,  Adelbert  von,  56,  62- 

64,  257,  259 
Clauren,  H.,  7,  19 
Cornelius,  P.,  249 
Creuzer,  G.  F.,  221,  223 

Droste-Hiilshoff,  Annette  von,  73, 
77-79 

N/  Eichendorff,  Joseph  von,  56,  65- 

68,  189,  190,  258,  259 
Engel,  Johann  Jakob,  6 
Eschenmayer,  A.  K.  A.,  218 

Fallersleben,  Hoffmann   von,  73, 

79-80. 

Feuerbach,  L.  A.,  230,  232 
Fichte,  J.  G.,  15,  156,  225,  227-228, 

231 
yFouque,  Fr.  de  la  Motte,  73,  81- 

82,  257,  259 
Franz,  R.,  235,  243 


Freiligrath,  Ferdinand,  73,  83-84 
Friedrich,  K.  D.,  247,  249 
Fries,  J.  F.,  229,  232 
Fiihrich,  J.  von,  251 

Geibel,  Emanuel,  73,  74,  85-86 
Gentz,  Fr.  von,  218-219 
Gerstenberg,    Heinrich    Wilhelm 

von, 13 
Goethe,  xx,  xxi,  xxii,  xxvii-xxviii, 

3,  4,  10,  12,  15,  17,  20,  21,  23, 

3O,    32,    178,    211,    212,    214,    229, 

233»  245.  246 

Gorres,  J.  J.  von,  220-221 
Grabbe,  Christian  Dietrich,  73,  74, 

87-88,  255 
Grillparzer,  Franz,  vii,  47,  1 50, 179, 

194,  258,  259 
Grimm,  Jakob,  220,  255-256,  258, 

259 
Grimm,   Wilhelm,    220,    255-256, 

258,  259 
Grim,  Anastasius,  73,  74,  88-89, 

168-169 

Giinderode,  Caroline  von,  223 
Gutzkow,  Karl,  144-145,  170 

Halm,  Friedrich,  73,  90 
Hamann,  Johann  Georg,  13 
Hauff,  Wilhelm,  73,  74,  91-92 
Hegel,  G.  W.  F.,  225,  228-229,  230, 

232 
Heine,  Heinrich,  xxiii,  73,  92-100, 

142,  163,  178,  190,  196,  197,  210, 

256,  258 

Heinse,  Wilhelm,  14 
Herbart,  J.  F.,  229-230,  232 
Herder,  xvi,  xix-xx,  3,  8,  9,  12,  15- 

16,  226,  227 
Herwegh,  Georg,  73,  74,  101-102 


[261] 


OUTLINE  OF  GERMAN  ROMANTICISM 


Herz,  Henrietta,  219 
V      Hoffmann,  Ernst  Theodor  Ama- 

deus,  73,  74,  102-106,  234,  235, 

237,  244,  257,  259 
Holderlin,  Friedrich,  22-23,  26-29 
Houwald,  Ernst  von,  48,  50-51 
Hiibner,  K.  W.,  253 
Hiilsen,  A.  L.,  215,  218 
Humboldt,  Alexander  von,  218 
Humboldt,  Wilhelm  von,  xv,  218 

Iffland,  August  Wilhelm,  7 
Immermann,    Karl   Lebrecht,   73, 
107-108,  179,  252,  258,  259 

Jacobi,  Friedrich  Heinrich,  13 

Kant,  Immanuel,xxi,  xxii,  212,224, 

226-227,  228,  229,  230 
Kaulbach,  W.  von,  252 
Kerner,  Justinus,  xxv,  73,  74,  109- 

no 
>/  Kleist,  Heinrich  von,  73,  74,  110- 

118,  168,  170,  255,  257,  259 
Klinger,  Friedrich  Maximilian  von, 

lo-n,  13 

Klopstock,  viii,  xviii 
Korner,  Theodor,  73,  74,  118-120 
Kotzebue,  August  von,  7 
Kreutzer,  Konadin,  235,  239 

Lachmann,  Karl,  221 
Lafontaine,  A.  H.  J.,  6,  7 
Laube,  Heinrich,  141, 143-144, 162 
Lavater,  J.  K.,  13 
Leisewitz,  Johann  Anton,  13 
Lenau,  Nikolaus,  vi,  73,  120-121, 

169,  242,  243 
Lenz,  J.  M.  R.,  10,  13 
Lessing,  G.  E.,  xv,  xvi,  xviii,  xix, 

155.  17S>  2I4,  227 
Lessing,  K.  F.,  244,  252 
Levin,  Rahel,  219 
Loeben,  Graf  von,  223 
Lortzing,  G.  A.,  235-236,  242 
Lowe,  Karl,  233,  235,  236,  240 

Marschner,  Heinrich,  235,  236,  239 
Mendelssohn,  Felix,  235,  242 
Menzel,  Wolfgang,  143 


Mereau,  Sophie,  212 
Mesmer,  Franz  Anton,  222 
Metternich-Winneburg,  C.  W.  N. 

L.  von,  169,  222 
Morike,  Eduard,  73,  74,  122-124, 

258,  259 

Miiller,  A.  H.,  221 
Miiller,  Fr.,  14 

Miiller,  Wilhelm,  73,  124-125 
Miillner,  Adolf,  48-50,  51-52 
Mundt,  Theodor,  141,  142,  144 

Nestroy,  Johann  Nepomuk,  73, 126 
Nicolai,  Friedrich,  4,  6 
Nicolai,  Otto,  235,  236,  241 
Niebuhr,  B.  G.,  222 
4  Novalis,  xvi,  xxii,  xxv,  xxvi,  15-18, 
16,  17,  31-  37-4i>  257,  259 

Ockenfuss,  Lorenz,  217 
Overbeck,  Fr.,  250 

Paul,   Jean,    see   Richter,    Johann 

Paul  Friedrich        • 
Pforr,  Franz,  250 
Pichler,  Karoline,  7 
Platen,  Graf  von,  73,  74,  127-129 
Preller,  Friedrich,  252 

Rahel  Levin,  see  Levin,  Rahel 
Raimund,  Ferdinand,  73,  129-130 
Raumer,  F.  L.  G.  von,  222-223 
Raupach,  E.  B.  S.,  7 
Reichardt,  J.  F.,  219 
Rethel,  Alfred,  244,  247,  254 
Richter,  A.  L.,  246,  251 
Richter,  Johann  Paul  Friedrich,  3, 

22-26 

Ritter,  J.  W.,  xxi,  218 
Rochlitz,  Friedrich,  5-6,  7 
Rottmann,  Karl,  251 
Riickert,  Friedrich,  xvi,  xxx,  73, 

^o-'SS.  23° 
Runge,  P.  O.,  249 

Savigny,  Fr.  K.  von,  222 
Schadow,  F.  W.  von,  250 
Schelling,  Fr.W.J.  von,  225,229, 232 
Schenkendorf,  Max  von,  73,  133- 


[262] 


INDEX 


Schiller,  xxviii,  3, 4,  12,  15,  16,  18- 
20,  21,  47,  50,  72,  135,  182 

Schirmer,  J.  W.,  252 

Schlegel,  Caroline,  217 

Schlegel,  Dorothea,  217 

Schlegel,  Friedrich,  16,  31,  43-46, 
184-185,  214-215 

Schlegel,  Wilhelm,  xv,  xviii,  xxi, 
15,16,17,  18,31,32,41-43,177, 

211-212,  215,  244 

Schleiermacher,  Fr.  E.  D.,  xxvi, 

228 

Schnorr  von  Carolsfeld,  J.,  250 
Schopenhauer,  Arthur,  230,  232 
Schubart,  C.  F.  D.,  14 
Schubert,  Franz,  233, 235-236, 240- 

241 

Schubert,  G.  H.,  221 
Schulze,  Ernst,  73,  74,  134-135 
Schumann,  Robert,  235,  236-237, 

241-242 

Schwab,  Gustav,  73,  135-136 
Schwind,  Moritz  von,  251-252 
Silcher,  Friedrich,  235,  236,  239 
Solger,  K.  W.  F.,  194,  219 
Spitzweg,  Karl,  248,  253 
Spohr,  Ludwig,  235,  236,  239 
Steffens,  Henrik,  217 
Steinle,  Eduard,  253 
Stifter,  Adalbert,  73,  136-137,  258, 

259 


Stolberg,  Christian,  14 
Stolberg,  Friedrich,  14 
Strauss,  David  Friedrich,  230,  232 

Tieck,  Dorothea,  219 
i-^Tieck,  Ludwig,  31,  32-37,  39,  179, 

208,  244,  246,  257,  258,  259 
Tieck,  Sophie,  218 
Tromlitz,  A.  von,  7 

Uhland,  Ludwig,  56,  69-71 

Varnhagen  von  Ense,  142 

Veil,  Ph.,  250 

Voss,  Johann  Heinrich,  7 

Wackenroder,  Wilhelm,  31,  36—37, 

i 80,  207 

Wagner,  H.  L.,  14 
Wagner,    Richard,    viii,    235-236, 

258,  259 
Waiblinger,  Wilhelm,  73,  74,  137- 

138 
Weber,  Karl  Maria  von,  235,  236, 

239 

Werner,  A.  G.,  218 
Werner,  Zacharias,  48,  49,  52-53, 

255 

Wieland,  15-16 
Wienbarg,  Ludolf,  140,  141,  142, 


[263] 


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